Alexander Grodzinski

Mutant is proud to announce a distribution partnership with Sparks & Shadows Records, an independent record label formed by Emmy and BAFTA Award-winning composer Bear McCreary. Last year, Mutant was the physical media home for McCreary’s debut rock record, The Singularity, a concept album featuring legendary rock talent including Slash, Serj Tankian (System of a Down), Corey Taylor (Slipknot), Rufus Wainwright, and many more. Mutant will now be the home and co-distributor of Sparks & Shadows’ back catalog on physical media, including McCreary’s scores for films, TV shows, and video games such as Black Sails, Da Vinci’s Demons, 10 Cloverfield Lane, Call of Duty, and much more. To celebrate this collaboration, Mutant is excited to premiere The Lord of the Rings: The Rings of Power (Season Two Complete Soundtrack Collection from the Amazon Original Series) This 10xCD box set features the complete episodic scores for all eight episodes of Season Two of the hit series, as well as the original soundtrack album. The limited-edition, numbered set also contains a 130-page booklet featuring liner notes by composer Bear McCreary. The Lord of the Rings: The Rings of Power (Season Two Complete Soundtrack Collection from the Amazon Original Series) is now available for pre-order at madebymutant.com

Neu von Quartet: Quartet Records, in collaboration with GDM and EMI General Music Publishing, presents a remastered reissue of BLUEBEARD (1972), in full stereo for the first time. It is one of the most bizarre-yet-beautiful Ennio Morricone scores composed during the busiest period of his career. The film is a weird co-production directed by Edward Dmytryck, produced by Alexander Saldkin, and starring Richard Burton, Rachel Welch, Virna Lisi, Nathalie Delon and Agostina Belli. The plot of the film is loosely based on a French folk tale about a nobleman whose last wife becomes curious when he tells her that she can enter any room in his castle except one. In that room, he keeps the corpses of all his previous wives, whom he has murdered. Ennio Morricone divided his score between the melancholic, the macabre and the parodic. One senses his intention to delve deeper into the psychology of the characters and to imbue the images with irony, moving from black comedy to bourgeois horror drama. The album of BLUEBEARD has been released several times on LP and CD since its first appearance in 1972 on the General Music label. In 2011, GDM CD Club released an expanded limited edition, supervised by the composer and produced by Dániel Winkler and Claudio Fuiano, containing all the music recorded for the film, which quickly sold out. This is a reissue of the same program, revised and mastered by Chris Malone from first-generation stereo master tapes. The booklet includes liner notes by Miguel Angel Ordóñez discussing the movie, the music and the composer. Barbablù (Titoli) 4:04 Caccia 2:22 Preludio alla prima moglie 1:19 Una macabra scoperta 2:09 1928 2:56 Interludio alla seconda moglie 2:22 Barbablù romantico 3:31 Postludio alla terza moglie 2:45 Dedicato alla quarta 2:39 Il violinista 2:51 La quinta è in coma 2:26 Barbablù al crepuscolo 2:25 Povera sesta 2:46 Brutta fanfara 1:31 Requiem per la settima 3:14 Barbablù 2:23 Preludio alla prima moglie (#2) 0:45 Una macabra scoperta (#2) 3:25 1928 (#2) 2:50 Interludio alla seconda moglie (#2) 1:51 Barbablù romantico (#2) 4:14 Postludio alla terza moglie (#2) 2:31 La quinta è in coma (#2) 2:20 Barbablù al crepuscolo (#2) 2:34 Povera sesta (#2) 3:26 Barbablù romantico (#3) 4:11 Barbablù (Titoli – Versione Film) 2:58 Total Disc Time: 73:01 Quartet Records, in collaboration with GDM and EMI General Music Publishing, present a remastered reissue of the 1972 classic, bizarre and ironic Ennio Morricone cult score for LE TRIO INFERNAL (1972), a successful French dark comedy-drama, sadistic and erotic, directed by Francis Girod, starring Michel Piccoli, Romy Schneider and Mascha Gonska. The film is about an ambitious lawyer who devises a plan with his German mistress and her sister to deceive wealthy millionaires, marry them and then murder them, disposing of the bodies in sulfuric acid, thereby collecting the inheritance and insurance money. Ennio Morricone responds to the challenge posed by Le trio infernal with one of his most complex and contradictory scores, where lyricism is mixed with irony, beauty is subverted, and music is transformed into a narrative commentary laden with ambiguity. The album of LE TRIO INFERNAL has been released several times on LP and CD since its first appearance in 1974 on the Yuki label in France. In 2010, GDM CD Club released an expanded limited edition, supervised by the composer and produced by Dániel Winkler and Claudio Fuiano, containing all the music recorded for the film, which quickly sold out. This is a reissue of the same program, revised and mastered by Chris Malone from first-generation stereo master tapes. The booklet includes liner notes by Miguel Angel Ordóñez discussing the movie, the music and the composer. Acido e Charme 3:52 Rag Nuziale (primo matrimonio) 3:27 Trio Infernale 6:03 Rag Nuziale (secondo matrimonio) 3:27 Acido e Charme (#2) 3:51 Sinfonietta – Requiem All’Acido Solforico 5:23 Rag Nuziale (ultimo matrimonio) 1:18 Trio Infernale (#2) 1:57 Acido e Charme (#3) 1:55 Rag Nuziale (primo matrimonio #2) 2:44 Trio Infernale (#3) 1:47 Acido e Charme (#4) 2:17 Rag Nuziale (ultimo matrimonio #2) 4:16 Trio Infernale (#4) 1:34 Acido e Charme (#5) 2:35 Trio Infernale (#5) 1:43 Rag Nuziale (secondo matrimonio #2) 2:24 Trio Infernale (#6) 4:52 Acido e Charme (#6) 2:48 Trio Infernale (#7) 3:51 Trio Infernale (#8) 2:29 Total Disc Time: 64:42 Quartet Records, in collaboration with GDM and Universal Music Publishing, presents a remastered reissue of one of Ennio Morricone’s most celebrated collaborations with Mauro Bolognini (ARABELLA, L’ASSOLUTO NATURALE, METELLO), the 1975 drama PER LE ANTICHE SCALE, starring Marcello Mastroianni, Barbara Bouchet, Lucia Bosé, Marthe Keller and Françoise Fabian. The film is set in fascist Italy in the 1930s and takes place in a Tuscan mental hospital. There, Dr. Bonaccorsi (Mastroianni), a charismatic, progressive and contradictory psychiatrist, works with mentally ill patients while simultaneously maintaining romantic relationships with three women: a nurse, a colleague’s wife and the hospital secretary. The decadent and labyrinthine atmosphere of the asylum acts as a metaphor for the state of Italian society at the time. Morricone’s score combines melancholic passages with atonal and dissonant moments, reflecting the clash between the lyricism of the human soul—the patients, their dreams, their poetic delusions—and the oppressiveness of the system—the treatments, the medical language, the hierarchy in the asylum. PER LE ANTICHE SCALE was originally released on an Italian 45RPM featuring only two cues from the score. It wasn’t until 1997 that RCA released on CD the mock-up album prepared by the composer in 1975, which was ultimately canceled. In 2007, GDM released an expanded edition with the complete score recorded by Morricone in a 74-minute edition, supervised by the composer and produced by Dániel Winkler and Claudio Fuiano. This is a reissue of the same program, revised and mastered by Chris Malone from first-generation stereo master tapes. The booklet includes liner notes by Miguel Angel Ordóñez discussing the movie, the music and the composer. Per le antiche scale (Preludio) 3:25 Passato remoto 7:02 I Interludio 2:18 Sospiri e Rantoli 6:56 II Interludio 2:59 Rimani 5:36 Interludio 2:59 Seconda invasione 2:31 Postludio 3:19 Follia e morte 7:56 Rimanenze 6:07 Per le antiche scale (#2) 3:00 Carnevale 6:23 Sospiri e Rantoli (#2) 2:39 Postludio (#2) 1:26 Follia e morte (#2) 6:06 Per le antiche scale (#3) 2:57 Total Disc Time: 79:19 Quartet Records, in collaboration with GDM, Universal Music Publishing and EMI General Music Publishing, presents a remastered reissue of the beautiful, nostalgic Ennio Morricone score for the 1981 romantic drama LA DISUBBIDIENZA, directed by Aldo Lado, starring Stefania Sandrelli, Jacques Perrin and Mario Adorf. Based on the novel by Alberto Moravia, the film is about a fourteen-year-old boy living in a bourgeois family with strong ties to fascism during the Republic of Salò, becoming involved in the partisan resistance, defying his parents’ authority. The appearance of two women will bring his adolescence to an end. Ennio Morricone composed an enchanting score for LA DISUBBIDIENZA, with one of its most melancholic and heartbreaking themes (“Morire e Viverti”) features the voice of Edda Dell’Orso. Also featured is a profound love theme and beautiful variations on it. Another nostalgic theme, written for solo oboe, defines the boy’s loneliness. It also includes the beautiful song “Dolci Parole,” which is one of the few times Edda has performed a song with lyrics. The score was released on LP in France in 1981 by General Music. In 1996, it made its first appearance on CD in Italy, with the same 10 tracks. In 2011, GDM CD Club released an expanded limited edition, removing two cues from the original vinyl and the first CD release, as they were neither composed for this film nor had anything to do with it. The new edition, supervised by the composer and produced by Dániel Winkler and Claudio Fuiano, containing all the music recorded for the film, which quickly sold out. This is a reissue of the same program, revised and mastered by Chris Malone from first-generation stereo master tapes. The booklet includes liner notes by Miguel Angel Ordóñez discussing the movie, the music and the composer. Morire e viverti 5:13 Oboi sommersi 4:30 Al Teatro Goldoni 3:23 La Disubbidienza (source #1) 2:38 Morire e viverti (#2) 5:10 Repressione 2:02 Dolci parole (A. Stainton / E. Morricone) Vocal: Edda Dell’Orso 1:47 La Disubbidienza 4:17 Il colore dei suoi occhi 4:32 Ritorsione 1:11 Morire e viverti (#3) 5:11 La Disubbidienza (source #2) 2:49 Ritorsione (#2) 0:47 Dietro la tenda 5:07 Total Disc Time: 48:44

Kommt am 21. Oktober.

Snow Files of the Week: "Catalogued/Deny Everything/Blood on Paper" aus The X-Files, Episoden "Duane Barry" and "Ascension" (1994). Ein klassischer X-Files-Zweiteiler aus der zweiten Staffel der Serie. Und mit Duane Barry eine der markantesten Figures des X-Files-Universums, aufwühlend manisch gespielt von Steve Railsback. Barry wird seit langer Zeit in manchen Nächten von Aliens heimgesucht, die immer wieder Experimente an ihm durchführen. Als eine erneute Heimsuchung kurz bevor steht, dreht Barry durch und nimmt in einem Bürogebäude einige Geiseln. Die Polizeit hält ihn natürlich nur für einen gefährlichen Irren, aber Mulder ist an den Heimsuchungen interessiert. Mulder gelingt es, Barry zu überlisten und dieser wird angeschossen in ein Krankenhaus eingeliefert. Doch Barry spielt nur zum Schein mit, bricht aus dem Krankenhaus aus und entführt Scully, die er an seiner statt den Besuchern für ihre Experimente überlassen will. Er bringt sie nachts auf den Skyland Mountain, von wo aus er zum ersten Mal entführt wurde. Als Mulder eintrifft, bemerkt er nur noch ein helles Licht am Himmel und findet Barry alleine vor. Scully ist verschwunden. Mark Snow untermalt diese Doppelfolge mit sehr melancholisch-mystischen Klängen. Die kurzen Motive für den Raucher und die Verschwörer tauchen immer wieder auf, da diese natürlich auch ihre Finger im Spiel haben. Die Tracks stammen vom vierten Set X-Files-Musik von LLL. Das Set ist auf 2.000 Exemplare limitert. Viel Spaß beim Hören!

Neu von Dragon's Domain: Dragon’s Domain Records presents PSYCHO, featuring music composed by Bernard Herrmann (CITIZEN KANE, NORTH BY NORTHWEST, VERTIGO) for the 1960 horror classic directed by the legendary Alfred Hitchcock, written by Robert Bloch and Joseph Stefano, starring Anthony Perkins, Janet Leigh, Vera Miles, John Gavin, Martin Balsam, John McIntire and Simon Oakland. Released in 1960, PSYCHO focuses on an encounter between Marion Crane (Leigh) and Norman Bates (Perkins) and its aftermath, in which Arbogast, a private investigator (Balsam), Marion’s lover Sam (Gavin) and her sister Lila (Miles) investigate her disappearance. On the run after embezzling money from her former employer, Marion makes a fateful stop at the Bates motel, where she meets shy proprietor Norman and Marion’s fate is changed forever... Now considered one of Hitchcock’s best films and arguably his most influential work, PSYCHO was seen as a departure at the time from his previous film, NORTH BY NORTHWEST, as it was filmed in black-and-white, on a small budget, with the same crew Hitchcock used for his television series, ALFRED HITCHCOCK PRESENTS. The film was a massive success in its day, spawning three sequels, a remake, a made-for-television spin-off and a television series. Bernard Herrmann is one of the greatest composers of motion picture music in the twentieth century. He is considered the man behind some of the most original and distinctive film scores. He was a master at evoking psychological and dramatic tension in his music to suit the dramatic needs of a film. He won his only Oscar in 1947 for writing the score for THE DEVIL AND DANIEL WEBSTER. Herrmann made a powerful mark in radio and in 1934 he began a 25-year career as a conductor and composer in radio, working for the CBS. In 1938, he scored the notorious infamous presentation of Orson Welles’ Halloween production of H. G. Wells’ THE WAR OF THE WORLDS broadcast. He is best remembered for his collaborations with some of Hollywood’s most celebrated film directors like Alfred Hitchcock, Orson Welles, Martin Scorsese and Brian DePalma. Described as a perfectionist, he believed that most directors didn't have a clue about music so he would blithely ignore their instructions. His filmography includes CITIZEN KANE, THE MAGNIFICENT AMBERSONS, NORTH BY NORTHWEST, VERTIGO, MYSTERIOUS ISLAND, CAPE FEAR, FAHRENHEIT 451, OBSESSION, TAXI DRIVER and many hours of episodic television including THE TWILIGHT ZONE and HAVE GUN, WILL TRAVEL, among others. First released on vinyl in 1975 by Unicorn-Kanchana and later released in the early days of the compact disc format, this recording captured the first complete presentation of music from PSYCHO as performed by the National Philharmonic Orchestra and conducted by the composer himself in 1975. Dragon’s Domain Records is excited to bring PSYCHO back to the marketplace under license from Unicorn-Kanchana, newly remastered by James Nelson at Digital Outland and retaining the original album liner notes by Christopher Palmer. PSYCHO is a limited edition release. PSYCHO will begin shipping the week of October 28th, 2025. 01. Prelude (2:08) 02. The City / Marion / Marion and Sam (4:34) 03. Temptation (3:06) 04. Flight / The Patrol Car / The Car Lot / /The Package / The Rainstorm (8:43) 05. Hotel Room / The Window / The Parlor (4:01) 06. The Madhouse (2:14) 07. The Peephole (3:10) 08. The Bathroom / The Murder / The Body (2:07) 09. The Office / The Curtain / The Water / The Car / The Swamp (6:39) 10. The Search (A) / The Shadow / Phone Booth (2:23) 11. The Porch / The Stairs / The Knife (4:33) 12. The Search (B) / First Floor / Cabin 10 / Cabin 1 (6:09) 13. The Hill / The Bedroom / The Toys / The Cellar / Discovery (5:24) 14. Finale (5:45) BONUS TRACKS 15. The Hill / The Bedroom / The Toys / The Cellar / Knife (reprise) / Discovery (film edit) (1:49) PSYCHO: A NARRATIVE FOR STRING ORCHESTRA 16. Part 1: Prelude (2:08) 17. Part 2: The Madhouse / The Murder / The Water / The Swamp ( 6:23) 18. Part 3: The Stairs / The Knife / The Cellar / Finale (6:36) Total Time: 78:37 Dragon’s Domain Records proudly presents the third volume in a new ongoing series of music from classic horror films from the Golden Age, featuring two world premiere releases of music from THE GORGON and THE MANSTER. Released in 1964, was directed by Terence Fisher (CURSE OF FRANKENSTEIN, HORROR OF DRACULA, THE MUMMY), written by John Gilling and J. Llewellyn Devine, starring legendary actors Christopher Lee and Peter Cushing, along with Richard Pasco, Barbara Shelley, Michael Goodliffe, Patrick Troughton, Joseph O’Conor and Prudence Hyman. THE GORGON begins in 1910, in Vandorf, a seemingly idyllic German village which is harboring a horrific secret: Seven people have died after encountering a mysterious force that turns bodies into stone. When Bruno Heitz, a bohemian artist believed to have committed suicide by hanging himself is blamed for the murder of his pregnant girlfriend, his father challenges local officials who he suspects of conspiring to hide the truth. An esteemed academic, he sends for help from his good friend Professor Meister (Lee), who is tutoring his other son Paul (Pasco). That night, the elder Heitz is drawn to Borski Castle by a strange and haunting melody, sung by a shadowy figure who appears to have writhing snakes on her head instead of hair. Staggering back to his son’s studio, he desperately scribbles a note while slowly turning to stone... Paul arrives the following day to learn that his father has also passed away, allegedly from a heart attack. His questions are rebuffed by Dr. Namaroff (Cushing), a medical doctor who also runs the local asylum, though he does find a sympathetic ear in Carla (Shelley), who is Namaroff’s assistant. Later that night, Paul finds himself compelled to visit the castle. He merely gets a glimpse of a mysterious figure reflected in the garden pool before passing out and awakening five days later, only to learn that he has noticeably aged. Professor Meister arrives to help Paul who, after exhuming his father’s stone corpse, is determined to locate and kill the monster. Namaroff insists publicly that the killer is one of his escaped lunatics, but in private he confides to Carla what he truly believes, that the murderer is someone else, a person possessed by the spirit of one of the mythical Gorgon sisters who, when gazed upon, turn people to stone... Composer James Bernard was the man responsible for creating Hammer Studio’s unique sound, having begun scoring for the studio with THE QUATERMASS XPERIMENT. He had commenced his music studies later in life, after completing his service during the Second World War. Following his work on X THE UNKNOWN and QUATERMASS 2, Bernard scored Hammer’s first major horror film, THE CURSE OF FRANKENSTEIN. Each of these scores featured his trademark blend of harmonies and themes that often melodically spelled out the protagonists’ names. Unlike many composers, Bernard frequently orchestrated his own scores and THE GORGON represents one of his more romantic horror efforts, undoubtedly inspired by the film’s central female character. Released in 1959, THE MANSTER was directed by George P. Breakston and Kenneth G. Crane, written by William J. Sheldon and Breakston, starring Peter Dyneley, Jane Hylton, Tetsu Nakamura, Terri Zimmern, Norman Van Hawley, Jerry Itô, Toyoko Takechi, Kenzo Kuroki and Alan Tarlton. THE MANSTER tells the story of Larry Stanford (Dyneley), an international journalist based inTokyo. His latest assignment sends him to an isolated laboratory located near a volcanic mountain. His efforts to interview a reclusive scientist (Nakamura)yields what he perceives to be a new friendship, but in reality Stanford has been secretly injected with an experimental serum, becoming the latest guinea pig in a mad, genetic experiment... The doctor’s beautiful assistant (Zimmern) is tasked with seducing Stanford in an attempt to observe how the drug changes his personality. He soon becomes more aggressive, ignoring help from his friend and editor Ian (Van Hawley), who has also flown Larry’s wife (Hylton) in to help. Soon, the city of Tokyo finds itself in the grip of terror as several young women are brutally murdered, and a police inspector (Itô) suspects a link between Stanford and the killer. Unbeknownst to all, Larry has begun a physical transformation with the appearance of an eye on his right shoulder that grows into an animalistic head, later evolving into a second beastly body... The music for THE MANSTER was composed by Hirooki Ogawa. The composer was born in Tokyo, Japan. Among his most notable scores were for the GEKKÔ KAMEN and MOONLIGHT MASK television and theatrical series in the 1950s.Some of the films featuring his scoring work has been recently released in the U.S., including WATARI THE NINJA BOY (Daininjutsu eiga Watari) and NINJA SCOPE (Tobidasu Boken Eiga: Akakage). This third volume in Dragon’s Domain Records series of classic horror films has been mastered by James Nelson at Digital Outland, featuring exclusive liner notes by Starlog Magazine’s David Hirsch with Sam Scali on the music featured on the album. THE GOLDEN AGE OF HORROR VOL. 3 is a limited edition release and is expected to begin shipping the week of October 28th,2025. SPECIAL NOTE: These recordings were originally taken from analog masters and music & effects tracks and therefore certain limitations from the source tapes may be evident. We have tried to preserve as closely as possible, the quality of the original recordings. THE GORGON (1964) Music by James Bernard 01. Main Title (3:22) 02. Death in the Forest / Broken Finger / Woman of Stone / Bruno's Body / Inquest Conclusion / Village Thugs (2:33) 03. The Siren's Call /Turning to Stone (4:31) 04. Surviving Son Contemplates (2:22) 05. The Legend / Terrible Reflection (4:04) 06. Nightmare / It Was Only a Dream / Exhumation / Come Away With Me (3:35) 07. Take Me Away Now (3:01) 08. Meister Steals the File (2:33) 09. It's Too Late / It's the Full Moon / Paul Escapes / Back to the Castle (2:55) 10. She's Free & Finale (4:27) 11. The Gorgon (1964) Theatrical Trailer (2:42) THE MANSTER (1959) Music by Hirooki Ogawa 12. Murder in the Onsen / Main Title / Climbing Into the Mist (2:37) 13. Disposing Kenji's Body (1:47) 14. Stanford Arrives at the Lab / Suzuki Drugs Stanford / Preparing the Hypo / Injecting Stanford (2:44) 15. Tokyo Branch Office / Call From the Wife / Geisha House (2:31) 16. Saki Before Our Bath / An Evening with Tara (2:46) 17. The Girlfriend or Me/ Tara's Demands / Hand Transformation (4:05) 18. Something On His Shoulder / The Priest / Where Did You Get Those Prayer Beads? / Murderous Rampage (2:57) 19. Emiko / Eye On His Shoulder / Second Head (2:06) 20. Matthews Searches for Stanford / Manster vs. Police / Wife Discovers Manster (3:08) 21. Mansterhunt (2:00) 22. Searching Tara's House (1:16) 23. The Shipyard (2:23) 24. Suzuki Shoots Emiko (1:39) 25. Manster Stabs Suzuki / The Split / Man vs. Monster / Finale (4:11) 26. The Manster (1959) Theatrical Trailer (1:33) Total Time 74:05 Dragon’s Domain Records presents WHAT EVER HAPPENED TO AUNT ALICE?, featuring music composed by Gerald Fried (THE MAN FROM U.N.C.L.E., STAR TREK, ROOTS) for the 1969 dark horror comedy directed by Lee H. Katzin, written by Theodore Apstein and Ursula Curtiss, starring Geraldine Page, Ruth Gordon, Rosemary Forsyth, Robert Fuller, Mildred Dunnock, Joan Huntington, Peter Brandon, Michael Barbera, Peter Bonerz, Richard Angarola, Claire Kelly and Valerie Allen. Released in 1969, WHAT EVER HAPPENED TO AUNT ALICE? was based on the novel ‘The Forbidden Garden’ by Ursula Curtiss. WHAT EVER HAPPENED TO AUNT ALICE? is the story of an aging Arizona widow named Claire Marrable (Page) left destitute after her husband, a prominent wealthy businessman, passes away leaving behind considerable debts. Penniless and desperate, Ms. Marrable retreats to Tucson where she cons elderly female housekeepers out of their life savings before murdering them and burying their bodies in her desert garden. Shortly after Mrs. Marrable hires petite Alice Dimmock (Gordon) as her next housekeeper (victim), the conniving black widow’s homicidal schemes begin to unravel... The original director of the picture, Bernard Girard, was fired from the project after shooting only half the film. Lee H. Katzin was then brought aboard to complete the movie receiving sole directorial credit. WHAT EVER HAPPENED TO AUNT ALICE? is the third installment in producer Robert Aldrich’s loose trilogy of psycho-biddy “Grand Guignol” films, horror thrillers featuring elderly women going crazy, following WHAT EVER HAPPENED TO BABY JANE? and HUSH…HUSH, SWEET CHARLOTTE. Born February, 1928 in the Bronx, Gerald Fried’s interest in music found its first fruition at the High School of Music & Art in New York City. He attended The Juilliard School of Music as an oboe major, graduating in 1945. Among his earliest friends was a bright kid named Stanley Kubrick. The two of them used to hang around Greenwich Village and talk about their budding interests, Fried’s in classical music and Kubrick’s in filmmaking. Their interests merged when Kubrick began filming DAY OF THE FIGHT, an 18-minute short about boxing. Knowing Fried was a music major, Kubrick asked him if he could write the score for his boxing picture. Fried agreed, then spent months going to the movies to learn how film scores worked, there being no schools or courses on film music in those days. Fried wrote an effective score, and Kubrick sold the film to RKO Pathé. Fried rejoined Kubrick to score four more of his films, including THE KILLING and PATHS TO GLORY, where the young filmmaker first gained his reputation. After the success of THE KILLING in 1956, Kubrick moved to Los Angeles, shortly followed by Fried, who was immediately hired to compose and arrange music for several films, including THE VAMPIRE, THE RETURN OF DRACULA, MACHINE GUN KELLY and I, MOBSTER, I BURY THE LIVING, and TIMBUKTU (1959). By the 1960s, Fried moved into television, scoring episodes of such seminal shows of the decade as GILLIGAN’S ISLAND, THE MAN FROM U.N.C.L.E., MISSION: IMPOSSIBLE and STAR TREK. By the 1970s Fried was composing music for numerous made-for-TV movies. His best-known score of the decade was for the 1977 miniseries ROOTS, which he took over scoring when Quincy Jones fell behind and was unable to meet the broadcast deadline for the eight-hour miniseries. Both Jones and Fried won Emmy Awards for their musical efforts on the series. During the ‘80s, Fried continued to compose music for television series, movies, and documentaries, and an occasional feature film. These are just two of the many magnificent scores Fried wrote throughout his career. The composer passed away on February 17, 2023 at the age of 95. His work remains a testament to his talent and dedication to the art of composition and he is remembered as a key figure in the evolution of music for film and television. Dragon’s Domain Records presents the world premiere release of WHAT EVER HAPPENED TO AUNT ALICE?, featuring music composed by Gerald Fried. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written author and composer Brian Satterwhite. WHATEVER HAPPENED TO AUNT ALICE? is a limited edition release. WHATEVER HAPPENED TO AUNT ALICE is expected to begin shipping the week of October 28th, 2025. 01. Come With Me (1:40) (Sherlie Matthews) 02. Prologue: The Respectable Widow (3:51) 03. Prelude To Murder / Opening Titles (3:27) 04. Miss Tinsley Death (3:55) 05. A New Tree / Alice Dimmock Arrives (2:44) 06. Snooping Around / A Stormy Night (4:11) 07. Falling In Love (1:24) 08. The Dog (4:50) 09. Discovering The Truth / $46,000? / Comparing Handwriting (4:16) 10. I Don’t Want To Lose You (1:26) 11. Late Night Call (2:25) 12. Fight To The Death (3:17) 13. Stamp Collection / Pine Trees / End Titles (3:06) 14. Come With Me (Alternate Version) (2:58) (Sherlie Matthews) 15. Cocktail Party I (4:30) 16. Cocktail Party II (4:19) 17. Car Radio (Source) (5:14) 18. Dixieland (Source) (3:42) 19. Mon Pauvre Amour (Source) (3:41) (Lilyan Chauvin) 20. Mon Pauvre Amour - Instrumental (Source) (3:41) 21. Viens À Moi (Come With Me) (2:04) (Lilyan Chauvin) 22. Viens À Moi (Come With Me) (Instrumental Version) (2:05) 23. Quand Revient La Nuit (Source) (2:25) (Lilyan Chauvin) 24. C’est La Vie (Source) (2:10) (Lilyan Chauvin) Total Time: 78:22 Dragon’s Domain Records presents THE HILLS HAVE EYES, featuring music composed by Don Peake (THE PEOPLE UNDER THE STAIRS) for the 1977 horror film written and directed by Wes Craven (LAST HOUSE ON THE LEFT, A NIGHTMARE ON ELM STREET, SCREAM), starring Susan Lanier, Robert Houston, John Steadman, Janus Blythe, Peter Locke, Russ Grieve, Virginia Vincent, Dee Wallace, Brenda Marinoff, Martin Speer, James Whitworth, Lance Gordon, Michael Berryman and Cordy Clark as Mama. Released in 1977, THE HILLS HAVE EYES follows Big Bob Carter (Grieve), a retired detective, his wife Ethel (Vincent), their son, Bobby (Houston), daughters Lynne (Wallace) and Brenda (Lanier), Lynne’s husband, Doug (Speer) and their granddaughter as they travel together through the desert on their way to California. Stopping at an isolated gas station to refuel and rest, Fred, the owner (Steadman) advises Big Bob to stay on the main road. Being stubborn, Big Bob ignores his advice and takes a shortcut through a nuclear testing site. After wrecking the car, the family finds themselves stranded in the middle of nowhere. And they are not alone... Don Peake is a multi-talented musician who has worked as a guitarist, arranger, record producer, and film music composer. Starting his professional musical career as a guitarist in 1961, Peake's talent was recognized early when he toured as lead guitarist with the Everly Brothers at the age of 21, playing in the U.S. and Europe for two years. Peake returned to Los Angeles to establish himself as a recording musician, and played for many of the legendary performers under Phil Spector's production including The Righteous Brothers - "You've Lost That Loving Feeling," Ike and Tina Turner - "River Deep Mountain High," as well as recording with Mahalia Jackson, Billy Preston, Cannonball Adderly, Marvin Gaye, and Diana Ross. Peake became the first white guitarist to play with the Ray Charles Orchestra, touring with Charles, and recording with him for ten years. During that time, Peake studied guitar with Barney Kessel, Howard Roberts, and Joe Pass, three legendary guitarists. Peake became one of the premiere session guitarists in Los Angeles, recording for Jan and Dean, The Mamas and the Papas, Sonny and Cher, The Beach Boys, and many others. Don was inducted into an elite group of musicians led by drummer Hal Blaine known as "The Wrecking Crew." This amazing range of musical experience led Peake to composing music for film and commercials. He studied composition and orchestration extensively with Dr. Albert Harris, Academy Award winning composer Paul Glass, and conducting with Broadway's beloved Maestro Samuel Krachmalnick. His film scores include Wes Craven's cult classic WALK PROUD, MOVING VIOLATION, MODERN LOVE, and BREAKIN’, which earned him a Platinum Album. Don spent three and a half years scoring the popular Universal Television series KNIGHT RIDER. He also scored the American Playhouse production of THE MEETING, a film about the meeting between Martin Luther King and Malcolm X. Previously released on compact disc as a limited edition release by Hitchcock Records, Dragon’s Domain Records is excited to bring THE HILLS HAVE EYES back to the marketplace, with the music remastered by James Nelson at Digital Outland, reprising liner notes by the composer. THE HILLS HAVE EYES is a limited edition release. THE HILLS HAVE EYES is expected to begin shipping the week of October 28th, 2025 1. Opening Credits (2:07) 2. Stay On The Main Roads / Truck Explosion / Here They Come / Mutants Watch / Pretty Girl / Spider (2:58) 3. Bobby Runs After Beauty The Dog / Bobby Runs Back Down The Hill (3:42) 4. Oil Can Spout / Old Man Tells Story / Mutant Attacks Big Bob (3:28) 5. Bobby Hears A Noise / Nailing Big Bob To A Tree / Bobby Runs / Mutant Enters The RV (2:47) 6. Explosive Diversion / Big Bob’s Burned Corpse (2:10) 7. Stealing The Baby / Lynne Is Shot / RV Fight / Finding The Walkie-Talkie (2:46) 8. Dog Scare / Running Back Up The Hill / Finding The Camp / Mutants Run To RV / Ruby Steals The Baby (2:48) 9. Ruby Runs With Baby / The Rabbit / Brenda Sees Mutant / Dead Mom Decoy (2:11) 10. Gas Trap / The RV Explodes / Chasing The Baby / Rock Fight / The Rattlesnake (2:42) 11. End Credits (1:23) 12. Bobby Runs Back Down The Hill (Alternate) (0:35) 13. Bobby Runs (Alternate) (0:23) 14. Lynne Is Shot / RV Fight (Alternate) (1:22) 15. Chasing The Baby / Rock Fight (Alternate) (1:04) 16. Dog Scare / Running Back Up The Hill (Alternate) (0:55) 17. Wild Synth Wind (0:18) 18. Wild Axe Hits (0:10) 19. Percussion Suite 1 (0:40) 20. Percussion Suite 2 (1:02) Total Time: 36:24

Von Quartet: Quartet Records presents the soundtrack album composed by Pedro Osuna (ARGENTINA 1985, THE LEGEND HUNTERS) for the horror thriller CRAZY OLD LADY, produced by J.A. Bayona (A MONSTER CALLS, SOCIETY OF THE SNOW) and directed by Martín Mauregui. The film is a tour-de-force starring Carmen Maura and Daniel Hendler, about a man whose ex-girlfriend asks him to temporarily take care of her senile mother, Alicia. But Alicia won’t let him leave, turning a simple task into a nightmare from which he must escape. Pedro Osuna is a talented young Spanish composer who has already been part of Michael Giacchino and Hans Zimmer’s teams on several major productions. He surprised audiences with his music for ARGENTINA1985, and his new score for VIEJA LOCA is a declaration of love for the genre of classic horror film music, where echoes of Herrmann, Goldsmith and Christopher Young coexist in a personal style of writing and orchestration entirely the composer’s own. Osuna conducts a large orchestra recorded in Los Angeles. Without a doubt, it is one of the most pleasant surprises in recent film music. Vieja loca 1:52 El hechizo de César 0:51 El hombre más malo del mundo 1:24 Comienza el viaje 2:58 No se grita 1:08 Antígona 2:23 ¿Es verdad o mentira? 2:58 Bigotudo 0:54 Sueño convertido en pesadilla 2:07 La pesadilla llega 0:47 Esperanza 5:32 Campeona metropolitana 1:12 La visita 3:01 Franquito 3:38 La verdad 3:18 Mordeme 3:36 Final 8:02 Caja de música 1:11 Antígona (versión alternativa) 2:01 Vieja loca suite 8:53 Total Disc Time: 57:56 Quartet Records presents the soundtrack album composed by Víctor Reyes (LOVE GETS A ROOM, ESCAPE, DOWN A DARK HALL, the Emmy-winning THE NIGHT MANAGER) for the war drama film LA TREGUA, directed by Miguel Ángel Vivas and starring Miguel Herrán, Arón Piper, Javier Pereira and Fernando Valdivielso. Set during World War II, the story takes place in the frozen steppes of Kazakhstan, home to Spassk99, a Soviet gulag where the USSR crammed together the “enemies of the people.” Among them were two groups of Spaniards: Republican soldiers trained by the USSR who were condemned for wanting to leave Russia when the war in Spain ended, and volunteers from the Blue Division, captured after fighting alongside the Nazis in Leningrad. These enemies must put aside their ideologies and unite. Victor Reyes composed an intense, atmospheric, exciting vibrant, and dark score, written for orchestra and electronics, in a combination that is sometimes terrifying and sometimes hopeful, representing the inner voices of the characters. Capitán… Teniente 2:20 De uno en uno 2:23 Estrépitos de música 3:43 Vuestro lugar 1:49 Quédatelo 2:01 Alcohol 0:54 Una tregua 1:17 Todos españoles 2:24 Ella 2:52 Consejos de un comunista 1:30 Kazajistán, Invierno de 1941 4:08 Lo siento 1:04 Memoria 2:03 De aquí a Muros 3:44 Hablas Kazajo 2:09 Ciudadano soviético 1:51 Pater 1:30 Una brújula 1:34 Despedida 1:34

Intrada announces the 30th anniversary, two-CD set of Hans Zimmer's score for the 1995 political-action thriller Crimson Tide. Zimmer was truly flying high in his career by the mid-1990s. He had successfully made the jump from London to Hollywood and had just won an Academy Award® for his score for The Lion King (1994). His sound was going through an evolution during the late 1980s and early 1990s, and it was on Backdraft (1991) that Zimmer fully embraced meshing an orchestra with his trademark synthesizers. It was also the start of the “power anthem” for which Zimmer would become known. Crimson Tide marks the full maturing of this style that would continue to be heard most notably in The Rock (1996) and The Peacemaker (1997). Zimmer won a GRAMMY® for Best Instrumental Composition Written for a Motion Picture or for Television for Crimson Tide. The main theme of Crimson Tide is a signature power anthem that embodies heroism and bravura, and in this expanded presentation of the score one can fully appreciate how it’s used throughout the narrative. The score is a master class in tension building. Zimmer utilizes atmospheric sounds to build a sonic tomb around the characters. Sounds resembling sonar, metallic colors and puffing woodwinds create sustained tension that slowly rises. This new release features the complete 88-minute score, adding nearly a half hour of music to the program originally released on Hollywood Records. The extras include a demo of a short suite Zimmer and collaborator Steve Mazzaro prepared in 2014 to be performed live in concert. The Hollywood Pictures film is a tense military thriller directed by Tony Scott and starring Denzel Washington and Gene Hackman, taking place almost entirely aboard a U.S. nuclear submarine. When communications with command are cut off during a potential nuclear crisis with Russia, the seasoned captain (Hackman) and his principled executive officer (Washington) clash over whether to launch nuclear missiles based on incomplete orders. Their escalating power struggle becomes a battle of wills. Play all clips CD 1 THE SCORE 01. Main Title* – News Report (4:43) 02. Briefing And Goodbyes – Roll Tide (7:33) 03. Little Ducks§ (2:04) 04. Fire In The Galley* – Hunter Rebuffed* (4:35) 05. Boxing (0:52) 06. Real EAM (2:37) 07. This Is Not A Drill (5:49) 08. Classification (3:21) 09. First Engagement (3:23) 10. Mutiny/2nd Attack* – Bilge Bay§ (16:07) TOTAL CD 1 TIME: 51:04 CD 2 THE SCORE (CONTINUED) 01. Counter Mutiny (9:46) 02. 1SQ* – Crisis Averted (18:52) 03. Court Of Inquiry** – Resolution/End Titles§ (8:39) Total Score Time: 88:21 THE EXTRAS 04. Crimson Tide 2014 Concert Suite (Demo)** (4:41) 05. Fire in The Galley – Hunter Rebuffed (Film Version) (3:13) 06. Court Of Inquiry – Resolution/End Titles (Film Version) § (8:43) Total Extras Time: 16:37 TOTAL CD 2 TIME: 53:54 TOTAL ALBUM TIME: 104:58 *Contains Material Not Featured in Film **Not Featured in Film §Contains Hymn “Eternal Father, Strong To Save” Written by John Dykes and William Whiting (Public Domain)

LLLCD1680 Music by John Morris Limited Edition of 1000 Units Back by popular demand and in celebration of CLUE: THE MOVIE’s 40th Anniversary! La-La Land Records and Paramount Pictures present a limited edition re-issue of renowned composer John Morris’ (YOUNG FRANKENSTEIN, BLAZING SADDLES, SPACEBALLS, THE ELEPHANT MAN) original orchestral score to the beloved 1985 Paramount Pictures comedy CLUE: THE MOVIE, based on the famous board game and starring Tim Curry, Madeline Kahn, Christopher Lloyd, Eileen Brennan, Martin Mull and Michael McKean and written and directed by Jonathan Lynn. Having gathered a notable, devoted cult following since its initial theatrical release, CLUE: THE MOVIE sports a wonderful score by composer John Morris – one that deftly weaves wit, slapstick, mystery and suspense with a masterful touch. Previously out of print, our acclaimed CD score release of CLUE: THE MOVIE has been re-issued for anyone who may have missed out on all the murderous fun – limited to 1000 units. Produced by Dan Goldwasser and mastered from ½ inch, 3-track Paramount vault elements by Mike Matessino, this special limited edition re-issue features new art design by Goldwasser, along with a new note from director Jonathan Lynn. The liner notes are by film music writer Daniel Schweiger. The audio presentation is the same as our initial CD release. TRACK LISTING: 1. Main Title / Trees to Dogs 3:10 2. Mrs. White 0:44 3. Miss Scarlet* / Car In Progress 1:48 4. May I Present Mr. Boddy 1:48 5. I Suggest We All Leave / Fight, You Bastard / Hallway Screaming Next Door 1:15 6. Bag In Hall 2:44 7. The Cook Chase / Boddy’s Fall / We’ll Throw It Away** 0:51 8. Stranger At Front Door / Match Cutting* / People In Hall** 2:37 9. Mrs. Peacock And Plum / Death Bridge / Bridge, White & Wadsworth / Billiard Cue Grab / Go Together 1:53 10. I’ll Search The Kitchen / Desk, Fire, Weapons / Let’s Try The Conservatory / I’ve Had A Good Life 2:02 11. Door Pounding to Chandelier Fall 1:31 12. Gun, Cupboard, Doorbell / Cop Panics 1:12 13. Yvette Upstairs to Bell 1:31 14. Step by Step 2:08 15. Remember What Happened Next / Don’t You See? Look! 1:57 16. I’ll Get To That / Beatnik 1:13 17. Ending A: Your Fatal Mistake / I Shot Her / Cavalry** 2:32 18. Ending B: Yvette to We All Ran to Her / To Check That Mr. Boddy Was Dead / Who, Who, Who / Cavalry 1:34 19. Ending A Top to You Were / Peacock At Door 1:06 20. End Title* 3:02 BONUS CUES 21. Main Title (Alternate 1) 1:30 22. Miss Scarlet / Car in Progress (Alternate) 1:46 23. Main Title (Alternate 2) 1:31 24. Peacock at Door (Alternate) 0:31 25. Main Title (Alternate 3) 1:42 26. End Title (Shorter Version) 1:39 27. Main Title (Alternate 4) 1:48 TOTAL ALBUM TIME 47:58 *not used in film ** contains material not used in film This is a CD format release

LLLCD 1678 Music by Maurice Jarre Limited Edition of 1000 Units La-La Land Records and StudioCanal proudly present a 35th Anniversary reissue of Oscar®-winning composer Maurice Jarre’s (LAWRENCE OF ARABIA, WITNESS, TOP SECRET!) original motion picture score to the 1990 psychological thriller JACOB’S LADDER, starring Tim Robbins and Danny Aiello, and directed by Adrian Lyne. A reality and genre bender of a film with serious cult status, JACOB’S LADDER is a wild, thrilling and thoughtful trip that charts Tim Robbins’s Vietnam veteran title character on a perilous and unpredictable journey through his war-torn past and grief-stricken present. Composer Maurice Jarre tackles the challenge of scoring this unique film with inventive vigor, creating a fully immersive sonic experience that expertly melds electronics and orchestra in fascinating fashion. Haunting and enthralling, this is a notable work by a legendary artist. Produced by Neil S. Bulk and mastered by Doug Schwartz, this special limited edition 2-CD reissue features the original 1990 soundtrack album on Disc One, with the Score Presentation showcased on Disc Two. Limited to 1000 units, this release features new liner notes by writer Jeff Bond and new art design by Dan Goldwasser. TRACK LISTING: DISC 1 ORIGINAL SOUNDTRACK ALBUM 1. Jacob’s Ladder 4:18 2. High Fever 7:43 3. Descent To Inferno 8:20 4. Sarah 7:18 5. The Ladder 7:15 6. Sonny Boy (perf. Al Jolson) 3:06 TOTAL DISC 1 TIME 38:00 DISC 2 SCORE PRESENTATION 1. Copter’s In 1:20 2. Convulsions / Stomach Ache 2:14 3. Train Trauma 1:41 4. Baby Pictures 0:59 5. Burning Pictures 1:29 6. Who Are You? / No File / Doctor’s Dead 1:47 7. Not Human 0:40 8. Ice Cold 2:16 9. Fever’s Gone 2:47 10. Am I Dead? 2:07 11. I See ’Em Too / Car Attack 3:10 12. Funeral 0:57 13. Spilled Beer / Surveillance 1:10 14. We’ve Been Watching You 1:05 15. What X-Ray? 1:59 16. You Okay? 2:03 17. Walk Again 1:13 18. Memorabilia 2:24 19. The Mirror 1:09 20. Aggressive Tendencies 2:05 21. Antidote 0:59 22. Pleasant Dreams 2:24 23. Demons 0:56 24. Demons Are Gone 1:19 25. Floor Play 1:31 26. Transformation 1:46 27. Happy Memories 1:51 28. Gabe Leads The Way 2:17 29. Sonny Boy (End Credits) 2:08 TOTAL DISC 2 TIME 49:48 TOTAL ALBUM TIME 87:48 This is a CD format release.

Ersteres. Ist ausgebessert.

Snow Files of the Week: "Grow Up Superboy/Ferris Wheel" aus der Serie "Smallville" (2001). Die Serie lief zehn Staffeln lang, aber nach der sechsten Staffel verliess Snow die Serie und Louis Febre, der bis dahin Snows Music Editor war, übernahm das Komponieren für die restlichen Staffeln. Snow wollte einfach mehr Zeit für seine Familie haben, komponierte er zur gleichen Zeit doch die Musik für die Serie "Ghost Whisperer", sowie für diverse Filme noch dazwischen (wie den zweiten X-Files-Film 2008). Für "Smallville" komponierte Snow einen sehr melodiösen Score, der natürlich auch seine etwas düsteren Klangcollagen beinhaltet. Die Musik ist etwas wärmer als die der X-Akten beispielsweise. Ein Album wurde digital veröffentlicht, mit einem Querschnitt aller zehn Staffeln und beiden Komponisten. Kurze Zeit später veröffentlichte LLL ein Doppel-Album mit der Musik, das neben dem digitalen Album natürlich noch mehr Musik aus der Serie enthält. Die CD war auf 3.000 Stück limitiert und ist ausverkauft. Viel Spaß beim Hören!

Von Quartet: This Hybrid SACD can be played on any standard CD player.Mixed and Mastered in 32-bit / 96 kHz. Quartet Records, in collaboration with Fifth Continent Music Classics, presents a remastered reissue of the acclaimed 1991 recording of Bernard Herrmann’s classic score for Orson Welles’ CITIZEN KANE (1941), performed by the Australian Philharmonic Orchestra under the baton of Tony Bremner. Considered one of the best films in the history of cinema, if not the best, this immortal classic was the first film directed by Orson Welles, when he was only 26 years old, and it was also the first film score by Bernard Herrmann, who was 29 at the time. His unique sound and his understanding of the art of music in film immediately made him the “new kid on the block,” and his influence continues to this day. The score for CITIZEN KANE was never released, except for a terrific suite conducted by Charles Gerhardt in the 1970s for an album devoted to Herrmann, and another, very different suite, arranged and recorded by the composer himself for his series of albums with Decca. In 1991, producer John Lasher undertook a re-recording of the original score of the film, working directly from the original manuscripts. Although it is not the complete score (another later recording, also excellent, conducted by Joel McNeely and produced by Robert Townson for Varèse Sarabande, was more complete), it was celebrated for its fidelity, sound quality and rendition. It is an honor to bring it back to the market. The album has been remixed and remastered by Chris Malone on Super Audio CD at 32-bit/96 kHz from high-resolution sources transferred in two-channel stereo. This hybrid SA-CD can of course be played on any standard CD player, although those with an SACD system will be able to enjoy it in DSD. The lavish, 24-page booklet features an exclusive essay by Herrmann’s official biographer, Steven C. Smith, uncovering new aspects of the relationship between the composer and Orson Welles. Prelude 2:23 Susan In Night Club (Rain Sequence) 0:57 Thatcher Library (Litany): Ms. Reading & Snow Picture; Mother’s Sacrifice; Charlie Meets Thatcher 3:25 Galop 1:01 Dissolve To Thatcher; Second Ms.; Bernstein’s Narration 1:42 Kane’s News Office; Carter’s Exit; Chronicle Scherzo 3:01 Bernstein’s Presto 0:41 Kane’s Return; Valse Presentation 1:41 Sunset Narrative 2:20 Theme And Variations (Breakfast Montage) 3:20 Kane Meets Susan; Susan’s Room; Mother Memory 3:10 The Trip To Susan’s; Getty’s Departure; Kane Marries 2:10 Salaambo’s Aria 4:24 Leland’s Dismissal 1:01 Susan In Night Club (New Dawn Sequence) 0:54 Opera Montage 0:48 Xanadu; Jigsaw Puzzles (Perpetual Motion); Second Xanadu 3:52 Kane’s Picnic; Susan Leaves 2:02 El Rancho (Second Dawn Sequence) 0:39 The Glass Ball 1:24 Finale 2:27 Total Disc Time: 43:31 This Hybrid SACD can be played on any standard CD player.Mixed and Mastered in 32-bit / 96 kHz. Quartet Records, in collaboration with Fifth Continent Music Classics, presents a remastered reissue of the acclaimed 1991 recording of Bernard Herrmann’s classic score for Orson Welles’ THE MAGNIFICENT AMBERSONS (1942), performed by the Australian Philharmonic Orchestra under the baton of Tony Bremner. It was Herrmann’s second collaboration with Orson Welles, but the music was highly modified in the finished film (partly due to abrupt, last-minute re-editing), which meant that both artists were very disappointed. Much of Herrmann’s work does not appear in the film. Producer John Lasher was determined to rescue this cursed score from oblivion, and thanks to the recovery of the well-preserved original manuscripts, the score was re-recorded in its entirety as Herrmann had conceived it. The album was a revelation when it was released and a gift for any film music lover, and it is an honor to bring it back to the market. The album has been remixed and remastered by Chris Malone on Super Audio CD at 32-bit/96 kHz from high-resolution sources transferred in two-channel stereo. This hybrid SA-CD can of course be played on any standard CD player, although those with an SACD system will be able to enjoy it in DSD. The lavish 20-page booklet features an exclusive essay by Herrmann’s official biographer, Steven C. Smith, uncovering new aspects of the relationship between the composer and Orson Welles. Theme & Variations; George’s Homecoming 7:20 Snow Ride 3:05 The Door; Death & Youth 0:56 Toccata 1:12 Pleasure Trip 1:06 Prelude 1:30 First Nocturne 4:08 Garden Scene 1:14 Fantasia 2:07 Scene Pathetique 2:19 Waiting 1 and 2 1:31 Ostinato 1:52 First Letter Scene 3:25 Second Letter Scene; Romanza 2:12 Second Nocturne 3:22 Departure; Isabel’s Death 1:47 First Reverie; Second Reverie 2:40 The Walk Home 2:49 Garden Music 2:59 Elegy 1:23 End Title 2:23 Total Disc Time: 51:31 This Hybrid SACD can be played on any standard CD player.Mixed and Mastered in 32-bit / 96 kHz. Quartet Records, in collaboration with Fifth Continent Music Classics, presents a remastered reissue of the acclaimed 1978 recording of Hugo Friedhofer’s classic, Academy-Award-winning score for William Wyler’s THE BEST YEARS OF OUR LIVES (1946), performed by the London Philharmonic Orchestra under the baton of Maestro Frank Collura. Considered one of the best film scores ever composed, Hugo Friedhofer’s music was revolutionary at the time. Far from the prevailing influence in Hollywood in the 1940s with the sound brought by European composers, Friedhofer opted for music with a profound American influence, especially Aaron Copland. In addition to economy of means, he preferred an orchestral color palette closer to chamber music than to the grand symphonic sound that prevailed at the time. He was also economical in the amount of music he wrote for the film. Instead of wall-to-wall music, as was the norm in huge productions, he chose to write around 50 minutes for a three-hour film, which was tremendously effective and opened a new way forward where music could contribute a psychological factor beyond the merely descriptive. In the 1970s, producer John Lasher attempted to release the original score, which he considered his personal favorite, but the tapes had disappeared. A new recording using modern technology, in stereo, was the only solution. Tony Bremner reconstructed the score with Friedhofer’s approval, and the result was one of the best re-recordings ever made of a classic film score, which had the blessing of the composer and the entire film music industry. The album has been remixed and remastered by Chris Malone on Super Audio CD at 32-bit/96 kHz from high-resolution sources transferred in two-channel stereo. This hybrid SA-CD can of course be played on any standard CD player, although those with an SACD system will be able to enjoy it in DSD. The lavish 24-page booklet features detailed liner notes by film music writer John Takis, discussing the film and the score. Main Title 1:35 Homecoming 6:29 The Elevator; Boone City; Peggy 4:23 Fred & Peggy 2:31 The Nightmare 6:18 Fred Asleep 2:26 Neighbors; Wilma; Homer’s Anger 7:42 Homer Goes Upstairs 5:56 The Citation; Graveyard & Bomber 4:28 End Title & End Cast (Wilma) 2:04 Exit Music 1:59 Total Disc Time: 45:57

Ja, das meinte ich auch mit „holpriger Dramaturgie". Es ist sowieso schon etwas komisch, dass sich manche der Kinder nach dem Transfer in den Hybrid-Körper immer noch wie Kinder verhalten und manche nicht mehr. Wendy/Marcy beispielsweise verhält sich im Grunde sofort wie eine Erwachsene, beziehungsweise hat nicht dieses kindlich-alberne, was einige der anderen Kinder haben. Und selbst das kindlich-alberne verschwindet in den letzten beiden Folgen auch bei den anderen, aber von einer Minute auf die andere. Das ist eh auch das Problem der Serie, es gibt einfach viel zu viele Charaktere. Bis auf die Hauptfiguren lernt man die anderen eigentlich kaum kennen. So verpuffen eigentlich auch Tode von Figuren, weil man eh nicht wirklich weiß, wer das ist. Aber ja, diese Wandlung aller Kinder kommt schon etwas plötzlich. Bei Wendy ist es noch am ehesten nachvollziehbar, aber bei den anderen scheint einfach ein Schalter umgelegt worden zu sein und jetzt sind sie eben plötzlich sadistische Killer. Wobei Nibs ja schon vorher in einer Szene so eine gewalttätige Anwandlung hatte. Vielleicht soll das suggerieren, dass man zwar Erinnerungen löschen/manipulieren kann, aber die Natur, den Charakter eines Menschen nicht. Das Finale war ja auch eher mau, quasi eine Fortsetzung der vorherigen Folge. Lang aufgebaute Storyarcs einzelner Figuren verpuffen im Nichts oder haben gar keine Konsequenzen in der Handlung (wie das Deaktivieren der Peilsender der Kinder, die man dann trotzdem relativ schnell aufspürt). Und warum Wendy/Marcy quasi allmächtig ist, alle Systeme bei Prodigy manipulieren kann mit einem Wink, mit dem Xeno kommunizieren kann, wird auch nicht erklärt. Dafür wieder viel Blut und Gemetzel. Ist der Xeno eigentlich unverwundbar? So viele Soldaten haben schon auf den geschossen und keiner hat ihn getroffen? Zumindest ein Glückstreffer hätte mittlerweile dabei sein müssen. Gut, im Finale gibt es eine Szene, da reicht plötzlich ein gezielter Treffer aus, um den Xeno zu verjagen. Die letzte Szene des Finales ist ja auch eher zum Schmunzeln. Soll das mit Boy eine Jesus-Allegorie sein? Und es stehen zufälligerweise Indianer-Spielfiguren auf einem Tisch bei Prodigy herum. Weil es die auch bei Peter Pan gibt. Ein wenig inkonsequent und mutlos fand ich die Auflösung mit dem neuen Wirt des Tentakel-Auges. Boy möchte es ja in einem Menschen haben, um mit ihm zu kommunizieren. Aber das Tentakel-Auge war doch schon mal in einem Menschen. Und zwar im Techniker auf der Maginot. Und da hat es auch nicht gesprochen, sondern nur gekreischt. Funktioniert das also überhaupt? Insgesamt ist die Serie tatsächlich eher wie PROMETHEUS und COVENANT. Der Xeno ist im Grunde nur Beiwerk, der Fokus liegt auf ganz anderen Dingen. Und man lernt ja auch nichts Neues über den Xeno. Auch der Konflikt zwischen Prodigy und Weyland-Yutani kommt viel zu kurz. Auch das ist eher Beiwerk, was echt schade ist. Das wäre ein Ansatz für einen Sci-Fi-Spionage-Plot gewesen. Aber auch hier scheint es so, als hätte man die Geschichte mit Kindern in Hybrid-Körpern gehabt, verpackt in die Peter-Pan-Geschichte und dann einfach noch den Xeno dazu gepackt und das Ganze ALIEN genannt. Das Tentakel-Alien ist der eigentliche Star der Show und man hätte den Xeno gar nicht gebraucht, um im Grunde die gleiche Geschichte zu erzählen. Gut, Wendy hätte den Xeno dann nicht zu ihrem Schoßhund machen können, aber da das eh nicht erklärt wird, hätte der ganze Plot auch so funktioniert. Aber gut, eine zweite Staffel scheint ja schon sicher zu sein.

THE DEVIL AND BERNARD HERRMANN includes suites from THE DEVIL AND DANIEL WEBSTER, OBSESSION and the composer’s own WELLES RAISES KANE, a suite from CITIZEN KANE and THE MAGNIFICENT AMBERSONS, featuring the composer conducting the London Philharmonic Orchestra and the National Philharmonic Orchestra in recordings from 1967 and 1975. Bernard Herrmann is one of the greatest composers of motion picture music in the twentieth century. He is considered the man behind some of the most original and distinctive film scores. He was a master at evoking psychological and dramatic tension in his music to suit the dramatic needs of a film. He won his only Oscar in 1947 for writing the score for THE DEVIL AND DANIEL WEBSTER. Herrmann made a powerful mark in radio and in 1934 he began a 25-year career as a conductor and composer in radio, working for the CBS. In 1938, he scored the notorious infamous presentation of Orson Welles’ Halloween production of H. G. Wells’ THE WAR OF THE WORLDS broadcast. He is best remembered for his collaborations with some of Hollywood’s most celebrated film directors like Alfred Hitchcock, Orson Welles, Martin Scorsese and Brian DePalma. Described as a perfectionist, he believed that most directors didn't have a clue about music so he would blithely ignore their instructions. His filmography includes CITIZEN KANE, THE MAGNIFICENT AMBERSONS, NORTH BY NORTHWEST, VERTIGO, MYSTERIOUS ISLAND, CAPE FEAR, FAHRENHEIT 451, OBSESSION, TAXI DRIVER and many hours of episodic television including THE TWILIGHT ZONE and HAVE GUN, WILL TRAVEL, among others. These historic recordings were originally released on vinyl in the 1970’s and later on compact disc in the 1990’s. Citadel Records, a division of BSX Records, is proud to bring these recordings back into the marketplace, under license from Unicorn Records Limited with the music newly remastered by James Nelson at Digital Outland and retaining the original liner notes written by Christopher Palmer including the participation of the composer. THE DEVIL AND DANIEL WEBSTER 01. Mr. Scratch (5:18) 02. The Ballad of Springfield Mountain (4:38) 03. The Sleigh-Ride (2:02) 04. The Miser's Waltz (5:26) 05. Finale / Swing Your Partners (2:48) WELLES RAISES KANE 06. Overture (2:36) 07. Theme and Variations (5:10) 08. Ragtime / The Saturday Night Band Concert (1:44) 09. Meditation / Antimacassar (2:42) 10. Finale / Pursuit and Happiness (2:37) OBSESSION* 11. Main Title / Valse Lente / Kidnap (6:02) 12. Newsboy / The Tape / The Ferry (4:58) 13. The Tomb / Sandra (8:06) 14. The Church / Court's Confession / Bryn Mawr (9:26) 15. New Orleans / Wedding / Court, The Morning After (4:33) 16. The Plane / Court and La Salle's Struggle / Airport (6:00) Total Time: 74:05

So, nun auch Folge 7 gesehen. Ich weiß auch nicht so richtig, was ich davon halten soll. Es wirkte dramaturgisch sehr holprig. Als hätte man gemerkt, dass nur noch eine Folge kommt und nun viele Sachen einfach "passieren" müssen. Und ja, gleichzeitig fühlte es sich ausgewalzt an, wie ein Füller für das Finale. Als ich so darüber nachgedacht habe, trifft das eigentlich auf die ganze Staffel zu. Gefühlt ist in den ersten zwei, drei Folgen mehr passiert als in den darauf folgenden, die viele Dinge einfach nur nochmal wiederholt haben. Da kam nicht viel Neues dazu und was bereits erzählt/etabliert wurde, wurde einfach nochmal durchgekaut. Nach wie vor finde ich den Xenomorph von der Art her, wie er inszeniert wird, mal gelungener und mal weniger. Auch der Facehugger sah irgendwie eigenartig aus. Nicht richtig überzeugend, eher wie eine Sammlerfigur in Lebensgröße, die man für die Szenen benutzt hat. Sah irgendwie zu clean und nicht organisch gewachsen aus. Und der Moment, als der Facehugger den Wirt verlassen hatte und dieser ohne ihn auftaucht, war Slapstick Covenant'schen Ausmaßes. Ich denke da an die Szene in COVENANT, als zuerst eine Person auf einer Blutlache ausrutscht und kurz danach eine andere Person nochmal auf der gleichen Lache. Vermutlich sollte das in der Folge so sein, um die Spannung humoristisch aufzubrechen. Nun ja, mal sehen, was das Staffelfinale zu bieten hat.

Dann habe ich ja was, auf das ich mich freuen kann Bin gerade noch im Urlaub und werde Folge 7 erst nächste Woche sehen können.

Genau das ist eben die Frage. Wenn das Ding jemanden imitiert, beziehungsweise absorbiert, weiß die Imitation, dass sie eine ist? Sie verhält sich ja so wie das Original, aber ist das das imitierte Bewusstsein, welches sich einfach verhält wie immer oder ist es das Ding, das durch das Absorbieren weiß, wie sich das Original verhalten würde? Und tragen dann die Zellen des Dings alle Erinnerungen und Fähigkeiten jedes Lebewesens, das es bis dahin absorbiert hat, in sich? Was dafür spricht, ist, dass Blair als Imitation weiß, wie man ein Raumschiff baut. Das wusste der echte Blair sicher nicht. Das Prequel bringt auch einen weiteren interessanten Aspekt mit ins Spiel. Es bleiben anorganische Sachen zurück, wie Zahnfüllungen oder Herzschrittmacher. Weil das Ding eben nur organisches Material imitieren kann. Dieser Aspekt wird in Carpenters Film ja außen vor gelassen. Entweder hat dort keiner Implantate im Körper oder das Ding ist einfach gründlicher beim Aufräumen Ja, PROMETHEUS und COVENANT finde ich als Teil des Alien-Universums auch problematisch. Als eigenständige Filme sind sie aber ganz OK. Dieses Übererklären nimmt eben dem ersten ALIEN einen Teil seines Mysteriums und auch ein wenig diese Angst vor dem Unbekannten. Ähnlich wie beispielsweise Rob Zombies HALLOWEEN, der Michael Myers eine Hintergrundgeschichte gibt. Mal abgesehen davon, dass diese nun nicht sonderlich originell ist, nimmt sie der Figur auch hier diese Angst vor dem Unbekannten. Manche halten es ja für einen Schwachpunkt von Carpenters Film, dass der Killer eigentlich keine Motivation oder Motiv hat. Aber genau das macht ihn eben so gefährlich. Er ist unberechenbar und eigentlich nicht mehr menschlich. "Purely and simply evil", wie Doktor Loomis sagt. Er ist der personifizierte Boogeyman, der Schatten und er tut eben Böses. Und man kann ihm nicht entkommen. Das finde ich viel reizvoller als die White-Trash-Hintergrundgeschichte von Zombies Film.

In ALIEN sieht man nur, dass der Xeno bei Bret seinen zweiten Kiefer ausfährt und ihn verletzt. Bei Parker ebenso, nur ist Parkers Verletzung tödlich. Die Szene im Nest in der längeren Fassung sorgte ja auch für eine andere Theorie bezüglich der Eier. Die Königin wurde ja erst in ALIENS eingeführt, beim ersten Film wird ja eigentlich nicht erwähnt oder erklärt, woher die Eier kommen. In der Szene sind Bret und Dallas im Nest eingesponnen. Dallas lebt noch und fleht Ripley an, ihn zu töten. Aber warum? Ohne einen Facehugger an Bord dürfte Dallas nicht "schwanger" sein. Allerdings sieht es so aus, als würde sein Körper mit der Substanz aus dem Nest verschmelzen. Und bei Bret, der scheinbar tot ist, sieht es so aus, als würde sich sein Körper langsam in eines der Eier verwandeln. Wie das möglich sein soll, wird nicht erklärt und die Szene flog ja auch raus, weil sie an der Stelle den Film auch eher ausbremst. Aber es ist eine interessante Theorie, dass der Xeno nicht nur Wirte braucht, sondern quasi auch organisches Material, welches er mit dieser Substanz seinem Lebenszyklus hinzufügt. Bei THE THING ist es ähnlich wie bei ALIEN. Das Wesen hat eigentlich kein Motiv oder eine Mission. Es will einfach sein Fortbestehen sichern. Das ist natürlich auch eine gute Ausrede, damit man nicht viel erklären muss. Es soll einfach pures Terrorkino sein und das ist es in beiden Fällen ja auch. Deswegen meinte ich ja auch, dass manche Sachen einfach keine Vorgeschichte oder tiefere Bedeutung brauchen. In THE THING meint Blair nur, dass dieses Wesen vermutlich schon unzählige Lebensformen auf anderen Planeten imitiert und absorbiert hat. Und es jetzt das eben auch auf der Erde will. Vielleicht will es also auch einfach nur erobern. Man erfährt ja auch nie, wie das Wesen ursprünglich mal aussah. Es ist immer nur als Imitation oder Mischform von Lebewesen zu sehen, die es bereits imitiert hat. Es muss ja ein Bewusstsein haben, da es intelligent genug ist, ein Raumschiff zu fliegen und zu bauen. Wobei man auch hier diskutieren kann, ob es diese Fähigkeit nicht einfach von einer anderen Lebensform übernommen hat, die es imitiert hat. Carpenters Film ist im Gegensatz zur ersten Verfilmung aus den 50ern ja recht nahe an der literarischen Vorlage. Dort ist das Ding zu Beginn, als es aus dem Eis geholt wird, tatsächlich in seiner Ursprungsform, bevor es beginnt, die Menschen und Hunde zu imitieren. Der Film umgeht diese Enthüllung quasi dadurch, dass er eine zweite Forschungsstation einführt, die Norweger. In der Geschichte findet das amerikanische Team das Wesen und es spielt sich auch alles dort ab. Aber eben dieses "Nichtwissen" macht für mich hier den Reiz aus. Bei beidem, Vorlage und Film, geht es um Paranoia und im Grunde auch um den Verlust der Menschlichkeit. Das funktioniert eben auch, ohne dass man dem Ding ein tiefergehendes Motiv gibt. Es ist sozusagen nur der Katalysator dafür. Klar kann man sich fragen, ob das Ding tatsächlich ein Bewusstsein hat oder es nur auf Zellebene existiert. Film und Vorlage sprechen beide davon, dass jede Zelle dieses Dings wie ein eigenständiger Organismus funktioniert. Und deshalb auch eine Zelle davon ausreicht, um einen anderen Organismus zu infizieren. Es könnte also sein, dass dieses Ding beispielsweise einen Menschen imitiert und dabei eben nur sein Bewusstsein hat. Weil es selbst nur auf Zellebene existiert. Diese Imitation trägt dann allerdings den Drang in sich, sich weiter zu verbreiten. Was wiederum ja eigentlich eine bewusste Handlung ist, die aber nicht vom imitieren Bewusstsein kommen kann. Was für ein eigenes Bewusstsein des Dings spricht. Aber so in die Tiefe geht es gar nicht, weil es für das, was der Film sein will, auch keine wirkliche Rolle spielt. Ähnlich wie ALIEN. Dort ist das Unbekannte, woher das Wesen kommt, warum es tut, was es tut, doch eigentlich reizvoller und bedrohlicher als jede Erklärung.

Von Quartet: Quartet Records, in collaboration with MOD Producciones, presents the soundtrack album for the eagerly awaited new film by Oscar-winning director Alejandro Amenábar, EL CAUTIVO, starring Julio Peña, Alessandro Borgui, Roberto Álamo, Fernando Tejero and Miguel Rellán. The film tells an unusual and never-before-told chapter in the life of Miguel de Cervantes, who in 1575 is taken prisoner and sold to the fearsome Hassan, Bey of Algiers. While awaiting a ransom, he discovers an unexpected refuge in the art of storytelling … and hatches a daring escape plan. The score has been composed by Alejandro Amenábar himself, as he had done previously with great success in some of his own films (TESIS, THE OTHERS, THE SEA INSIDE) and others (BUTTERFLIES TONGUE, NOBODY KNOWS ANYONE). Supervised and produced by Lucio Godoy and recorded at Abbey Road Studios in London, Amenábar’s music perfectly sets the mood and situation of the characters, as well as the location and plot, with a sumptuous, romantic and melodic score, like good old-fashioned film music. Los molinos 1:11 Una mano en la ventana 3:31 Cervantes tiene un plan 3:10 Ya sé lo que pas 3:16 El tesoro del Bajá 1:25 Cielo o infierno 2:29 Más historias 2:35 El amor no existe 3:54 Los de Cervantes 3:11 Fantasía 2:28 Nuevo plan 1:51 Un final tan triste 2:18 I Piccoli Piaceri 1:49 Conmigo serás libre 2:15 Adiós, cautivo 4:46 Quartet Records, in collaboration with Universal Music Enterprises, Island Records and El Deseo, presents the remastered reissue of the music composed by Ryuichi Sakamoto (THE LAST EMPEROR, LITTLE BUDDHA, WUTHERING HEIGHTS) for Pedro Almodóvar’s 1989 cult classic, TACONES LEJANOS (aka HIGH HEELS), a noir melodrama starring Victoria Abril, Marisa Paredes and Miguel Bosé. After his collaborations with Bernardo Bonezzi and Ennio Morricone, and before his long and successful partnership with Alberto Iglesias, Almodóvar worked with the young, Oscar-winning Japanese composer. Sakamoto wrote a radiant melodramatic score whose main theme was immediately one of his hits. The album also includes the two songs performed by Luz Casal for the film (“Un año de amor” and “Piensa en mí”), which became instant icons of Spanish cinema. This CD has been meticulously remastered by Chris Malone from the original master tapes and includes an exclusive design by Juan Gatti and liner notes by the album producer, Jose M. Benitez. Tema principal 3:06 Tacones lejanos 2:00 Trauma 3:07 La guitarra de Becky 1:06 Plaza 1:14 Besos 1:15 Un año de amor (Luz Casal) 3:21 El Cucu 1 4:27 El Cucu 2 4:18 Tele 7 0:15 Asesinato 0:38 A punto de confesar 1:11 Interrogatorio 4:26 El arresto de Rebeca 1:06 Piensa en mi (Luz Casal) 4:30 Sonata de otoño 0:55 La liberación de Rebeca 2:01 El secreto de Letal 1:01 Viaje en ambulancia 0:24 Título final 3:06 Soleá (Miles Davis) 12:10

Snow Files of the Week: „Night Forest/Forest Search" aus „The X-Files", Episode „Pilot" (1993). So fing alles an. 1993, die erste Folge „The X-Files" mit einem für spätere Verhältnisse fast schon rohem Score von Mark Snow. Man merkt, dass hier noch alles neu war und alle Beteiligten sich erst einmal in dieser neuen Welt zurechtfinden mussten. Dennoch hört man auch hier schon die düsteren Klanglandschaften, mit der Snows Musik die Serie ebenso prägen sollte, wie seine wundervollen Themen. Die Clips stammen vom vierten Set von LLL, welches auf 2.000 Exemplare limitert ist. Viel Spaß beim Hören!

Der erste Xenomorph hat im Grunde ja auch gar keine Wirte gesucht. Der hat alles niedergemetzelt, was ihm in den Weg kam. Bis auf Morrow eben. Aber ist er wirklich eher eine Maschine, nur weil er einen künstlichen Arm hat? Und: Sind alle, die das Alien tötet, statt es in sein Nest als Wirt zu verschleppen, wirklich Futter? Hat das Alien jemals etwas gegessen in den Filmen? Ich habe mich eh gefragt, warum der Xenomorph so viel tötet. Für seinen Lebenszyklus macht das ja eigentlich keinen Sinn, denn das sind ja alles potentielle Wirte. Klar, wenn es angegriffen wurde, hat es sich gewehrt. Im ersten Film hat es Dallas und Bret auch nicht getötet, sondern in sein Nest gebracht, wie man in der längeren Fassung sieht. Nur Parker und Lambert scheint es dann aus irgendwelchen Gründen getötet zu haben. Gut, Parker hat den Xenomorph angegriffen, aber Lambert? Und auch in ALIENS wird ja erwähnt, dass die Marines nicht tot sind, weil ihre Lebensfunktionen noch messbar waren. Und Ripley meint dann auch, dass sie ins Nest gebracht und eingesponnen werden. Alles wird in den verbleibenden Folgen sicher nicht aufgelöst. Aber es wird sicherlich mit einem Konflikt-Cliffhanger enden.

Dragon’s Domain Records presents music from the original score to TIME AFTER TIME, composed by the legendary Miklós Rózsa (BEN-HUR, KING OF KINGS, EL CID) for the 1979 science fiction thriller directed by Nicholas Meyer (THE DAY AFTER, STAR TREK II: THE WRATH OF KHAN), written by Karl Alexander, Steve Hayes and Meyer, starring Malcolm McDowell, Mary Steenburgen and David Warner. TIME AFTER TIME starts with the premise that H.G. Wells actually constructed the time machine which he wrote about in his classic novel. TIME AFTER TIME is a romantic thriller in which Wells (McDowell), the scientific genius, tracks Jack the Ripper (Warner), the criminal genius, from 19th-century London to 20th-century San Francisco in order to bring the Ripper to justice. When Wells is transported in his time machine to modern San Francisco, he seems to be more of a babe in the woods than a sophisticated Victorian gentleman. What he finds is that some of his predictions have come true, while others, like a utopian society, have not... Born in Budapest, Hungary in 1907, composer Miklós Rózsa studied the violin from the age of 5. While living in London in 1935, Rózsa was hired by legendary producer Alexander Korda to score his film, KNIGHT WITHOUT ARMOR. Later, while composing the music for another Korda production, THE THIEF OF BAGDAD, Rózsa moved to California, where he remained for the rest of his life. Throughout his film career, he worked in many genres but distinguished himself writing music for the film noirs of the 1940’s and the great costume epics of the 1950’s and 1960’s. A classically trained composer, Rózsa was well known for his dedication to researching the musical history of the time periods of the films he worked on. His filmography includes music composed for films such as THE THIEF OF BAGDAD, THE JUNGLE BOOK, DOUBLE INDEMNITY, SPELLBOUND, THE LOST WEEKEND, QUO VADIS, IVANHOE, JULIUS CAESAR, KNIGHTS OF THE ROUND TABLE, BEN-HUR, KING OF KINGS, EL CID, THE PRIVATE LIFE OF SHERLOCK HOLMES, THE GOLDEN VOYAGE OF SINBAD and TIME AFTER TIME, among others. Originally released on vinyl by Entr'acte at the time of the film’s release, this presentation of the score is a rerecording produced by the composer and performed by the Royal Philharmonic Orchestra. Southern Cross would release this program later on compact disc in the early days of the format. In 2009, Film Score Monthly released a compact disc with the original film tracks for the first time. Dragon’s Domain Records presents this new release of TIME AFTER AFTER, featuring the rerecording produced by the composer, newly remastered by James Nelson at Digital Outland and retaining the original album liner notes by director Nicholas Meyer and John Lasher. Following the original album program is a selection of bonus tracks of additional music composed by Miklós Rózsa, including music from PROVIDENCE, THE LOST WEEKEND, SPELLBOUND, THAT HAMILTON WOMAN and THE PRIVATE FILES OF J. EDGAR HOOVER. TIME AFTER TIME is a limited edition release of 500 units. TIME AFTER TIME will begin shipping the week of Sept. 29th, 2025 01. W.B. Fanfare* And Prelude (2:09) (* - Max Steiner) 02. Search For The Ripper/ Decision (2:06) 03. Vaporizing Equalizer / The Time Machine (2:12) 04. Time Travel (1:33) 05. Bank Montage (1:08) 06. Utopia (1:34) 07. The Ripper / Pursuit (3:29) 08. The Time Machine Waltz (4:01) (Eric Parkin: piano) 09. Man Before His Time (1:56) 10. Redwoods (2:32) 11. Frightened (1:45) 12. Murder (1:45) 13. The Fifth Victim (1:35) 14. The Last Victim (1:46) 15. Nocturnal Visitor (1:38) 16. Dangerous Drive (3:08) 17. Journey’s End And Finale (3:59) BONUS TRACKS 18. Time After Time: Pocket Watch (0:28) (The Meridian Studio Ensemble) 19. Providence: Valse Crèpusculaire (3:58) (Gregg Nestor, William Kanengiser: Guitar) 20. The Lost Weekend: Love Theme (5:10) (The National Philharmonic Orchestra) 21. Spellbound: Theme From “Spellbound” (4:46) (Sinfonia of London) 22. That Hamilton Woman: Love Theme (4:46) (The London Symphony Orchestra) 23. The Private Files of J. Edgar Hoover: Main Title / Dr. King / End Titles (9:33) (Conducted by Miklós Rózsa) Total Time: 67:50

Wieder Dragon's Domain: BSX DIGITAL presents music composed by David Newman (THE PHANTOM, HOFFA, MR. DESTINY, GALAXY QUEST) from the original score to THE RUNESTONE, the 1991 horror comedy directed by Willard Carroll (PLAYING BY HEART, THE BRAVE LITTLE TOASTER, TOM’S MIDNIGHT GARDEN), written by Carroll and Mark E. Rogers, starring Peter Riegert, Joan Severance, William Hickey, Tim Ryan, Mitchell Laurance, Lawrence Tierney, Dawan Scott, Chris Young and Alexander Godunov. Based on an unpublished novella by Mark E. Rogers, THE RUNESTONE unfolds as the clocks in the shop of a mysterious clockmaker suddenly stop at three o’clock as a Norse runestone is removed from the depths of a coal mine in Western Pennsylvania. Archaeologist Martin Almquist (Laurance) oversees the runestone’s move to his New York City laboratory. Excited by his discovery, Martin calls his former girlfriend, Marla (Severance), an artist now married to Sam Stewart (Ryan) and asks them to return to New York so that Sam, also an archeologist who is working in Maine, can decipher the runestone. Meanwhile, Lars Hagstrom (Hickey) finds Martin and warns him about the runestone, but Martin believes Hagstrom is crazy. Sam and Marla believes this has some connection to Martin. A young boy named Jacob is haunted by terrifying nightmares of what is coming and his family explains these dreams through stories from Norse legend, which say that the only one who can destroy Fenrir is Tyr, the Norse god of war, who is prophesied to return to fight the creature... Conceived in 1990, the music for THE RUNESTONE was recorded at Columbia Studios, while an electronic musical score was also recorded at D & K Studios. Newman’s score is robust as it parallels the storyline, from tense strings and horns, percussive timbres, horns, and drums to strings to rushing horns and harsh string notes. Intricate keyboard tonalities, low up-and-down sonic whispers, percussive striations, and low percussion raging into heavy tonal contrasts, suspenseful drums, grappling tension segueing into eerie, soft, fast-trumpet notes, anticipating the composer’s amazing musical accomplishments in the next several decades of American cinema. David Newman is one of today’s most accomplished creators of music for film. The son of nine-time Oscar-winning composer Alfred Newman, David Newman was born in Los Angeles in 1954. He trained in violin and piano from an early age and earned degrees in orchestral conducting and violin from the University of Southern California. From 1977–1982, he worked extensively in the motion picture and television industry as a violinist, playing on such films as E.T., TWILIGHT ZONE – THE MOVIE, and the original Star Trek film, STAR TREK: THE MOTION PICTURE. In his 25-year career, he has scored over 100 films, ranging from WAR OF THE ROSES, MATILDA, BOWFINGER and HEATHERS, to THE SPIRIT, and SERENITY, BEHAVING BADLY and TARZAN. Newman’s music has brought to life the critically acclaimed dramas BROKEDOWN PALACE and HOFFA; comedies NORBIT, SCOOBY-DOO, GALAXY QUEST, THE NUTTY PROFESSOR, THE FLINTSTONES, THROW MAMA FROM THE TRAIN; and award- winning animated films ICE AGE, THE BRAVE LITTLE TOASTER and ANASTASIA. Newman is also a highly sought-after conductor and appears with leading orchestras throughout the world, including the Los Angeles Philharmonic, Royal Philharmonic Orchestra, The Boston Symphony, The Philadelphia Orchestra, The Chicago Symphony and the New York Philharmonic. He has led subscription weeks with the Los Angeles Philharmonic at Walt Disney Concert Hall and regularly conducts the Hollywood Bowl Orchestra at the Hollywood Bowl. Passionate about nurturing the next generation of musicians, Newman serves on the Board of the American Youth Symphony, a 55-year-old pre-professional orchestra based in Los Angeles BSX Digital presents THE RUNESTONE, featuring music composed by David Newman. Previously released on compact disc by Perseverance Records in 2010, the music has been newly remastered by James Nelson at Digital Outland and includes new liner notes by noted author Randall Larson. This release is dedicated to the memory of Krystyna Newman. This is the original musical score for the BIG FINISH audio drama titled "V-UK: Occupation," the second chapter of the audio drama series produced by Big Finish Productions and masterfully composed and performed by the talented Joe Kraemer. This audio drama draws inspiration from the iconic miniseries "V," originally created by Kenneth Johnson. The miniseries first premiered on television in 1983, captivating audiences with its compelling narrative and innovative storytelling. "V explored themes of resistance and survival in the face of an alien invasion, leaving a lasting impact on the science fiction genre. The audio drama serves as a continuation of that rich universe, blending Kraemer's evocative composition with the familiar existential battles and moral dilemmas that defined the original series. Joe Kraemer wrote his first film score in 1986 when, at 15, he was acting in an independent feature for director Scott Storm. Since then, he has composed music for over 100 feature films, documentaries, television episodes and movies. He is perhaps best known for his award-winning score to MISSION: IMPOSSIBLE — ROGUE NATION (2015 Action Score of the Year, IFMCA) and JACK REACHER in 2012. Other notable works include THE MAN WHO KILLED HITLER AND THEN THE BIGFOOT, THE WAY OF THE GUN, TV series such as PANDORA, CREEPED OUT, and COMRADE DETECTIVE, plus the documentary about the films of director Larry Cohen, KING COHEN. In 2016, he composed a new score for F.W. Murnau’s 1927 silent film SUNRISE, which premiered live-to-picture in Dallas and has since been performed all over the world. BSX Records is proud to present the premiere release of V UK: OCCUPATION AUDIO DRAMA, featuring original music composed by Joe Kraemer and mastered by James Nelson at Digital Outland. Dragon’s Domain Records presents THE QUIET EARTH: THE FILM MUSIC OF JOHN CHARLES, a compilation of music composed by John Charles from several projects in his filmography, including THE QUIET EARTH, UTU and IRIS. Celebrating it’s 40th anniversary this year, THE QUIET EARTH has become a cult classic among sci-fi film buffs and is frequently shown at art cinemas around the world. Released in 1985, the film was directed by Geoff Murphy, written by Craig Harrison, Bill Baer and Bruno Lawrence, starring Lawrence, Alison Rutledge, Pete Smith, Anzac Wallace, Norman Fletcher and Tom Hyde. THE QUIET EARTH follows scientist Zac Hobson (Lawrence), who is awoken early one morning in his oceanside motel room to witness Operation: Flashlight, an effect whereby through a giant energy blast, there are suddenly no people anywhere. Zac attempts to contact other survivors without success. He decides to enjoy “the good life,” moving into an elegant mansion, treating himself in style to goods in local supermarkets and shopping centers. Eventually he locates two other people in his new world — Joanne (Routledge) and Api (Smith). The usual tension, which develops in the two-men-one-woman scenario, gives way to the realization that the urgency of their very survival is paramount. The film’s empty streets, quiet countrysides and deserted buildings create otherworldly landscapes, augmented by John Charles’ elegant score, employing a large symphony orchestra and judicious use of electronics. Airing on television in 1984, IRIS was directed by Tony Issac, written by Keith Aberdein, starring Helen Morse, Philip Holder, John Bach, Donogh Rees, David Ashton, Elizabeth McRae, Roy Billing and Peter Hambleton. IRIS relays the life of New Zealand writer Iris Wilkinson, international novelist, poet and journalist who wrote under the name of Robin Hyde. IRIS is played by Helen Morse, fondly remembered for her work in A TOWN LIKE ALICE. John Charles composed one of his finest works for IRIS, chamber score, very much in style of the 20th-century impressionists such as Debussy, Ibert and Ravel. Released in 1983, UTU was directed by Geoff Murphy, written by Murphy and Keith Aberdeen, starring Anzac Wallace, Bruno Lawrence, Tim Elliot, Kelly Johnson, Tania Bristowe, Ilone Rodgers, Martyn Sanderson, John Bach, Sean Duffie and John Malcolm. UTU is a visually stunning, well-paced and powerfully acted adventure film, dealing with passion and revenge between the European settlers and native Māoris in late nineteenth century New Zealand. UTU was well received by the major critics at the time of its initial release. Charles’ rich and evocative original score, drawn from folk music and traditional Māori material, evokes the period of the drama with orchestration reminiscent of classical music of the nineteenth century. John Charles was born in Wellington, New Zealand, in 1940. During his first year at University of Victoria Wellington, where he enrolled for a BA in 1958, he joined the UVW Jazz Club and began playing jazz regularly as their pianist. In 1963, after two years at New Zealand Broadcasting Service, he returned to UVW to complete his study for a Bachelor of Music degree. In 1967 he was appointed producer for NZBC television. There he produced and directed various live current affairs, documentary music, ballad and jazz programs, and broadcasts of the New Zealand Symphony Orchestra (1970-1973). He moved to Australia in 1974 and for the next four years worked in the Music Department at ABC-TV, directing broadcasts of the Sydney Symphony Orchestra and the series MUSIC OF AUSTRALIA and WILFRED LEHMAN CONDUCTS. His cinema music credits include GOODBYE PORK PIE, CONSTANCE, A SOLDIER’S TALE , ZOMBIE BRIGADE and TAKING LIBERTIES, the television movies MAN OF LETTERS, THE PERFECTIONIST and the mini-series HEART OF THE HIGH COUNTRY. Previously released on compact disc by Label X in 1993, Dragon’s Domain Records brings together the scores for THE QUIET EARTH and UTU, along with IRIS, newly remastered by James Nelson at Digital Outland, carrying over the original liner notes from producer John Stephen Lasher. THE QUIET EARTH: THE FILM MUSIC OF JOHN CHARLES is a limited edition release. THE QUIET EARTH: THE FILM MUSIC OF JOHN CHARLES will begin shipping on September 29th, 2025 THE QUIET EARTH 01. Sunrise (3:24) 02. Empty Town (1:27) 03. Moving Up In The World (2:13) 04. Zac Takes Over (0:51) 05. Going Down (1:24) 06. Born Again / There Are Others (2:33) 07. The Effect Continues (1:33) 08. Trio (1:44) 09. Taking Off (1:07) 10. Road Block (1:14) 11. Alarm (1:04) 12. Last Love Scene (1:14) 13. Finale / Saturn Rising (4:14) IRIS 14. Opening Music (2:28) 15. You’ve Been With Spring (1:41) 16. Backstage (0:50) 17. Thunder In The Night / Sandhills (2:06) 18. A Ride With Simone (1:36) 19. We Are Two Ghosts / A Real Accident (2:02) 20. All Night Long (1:21) 21. Sleep, Sweet Sleep (1:55) 22. The Wanderer (2:15) 23. God’s Matchless Vault / But The Last Black Horse of All (2:12) 24. Take Me Home (2:06) UTU 25. Theme From Utu (2:09) 26. Patrol / Destroyed Village* (2:59) (*trad. chant sung by Rangi Dewes) 27. Te Wheke Stalks Emily (2:42) 28. Moko (2:16) (trad. chant sung by Joe Malcolm) 29. The Raid After The Raid / Williamson Retaliates (4:17) 30. Quadruple Barrelled Shotgun* / The Army Approaches Te Puna (3:57) (*composed by S.C. Foster / arr. John Charles) 31. Henare / Night Sentry / Fishing After The Battle (4:18) 32. Williamson Reflects / Te Wheke’s Trek / Williamson Prepares For Utu (2:57) 33. Death Of Te Wheke (Lament*) And Finale (2:33) (*trad. chant sung by Rangi Dewes) 34. Drummers (0:44) 35. Waiata Tangi (2:37) (trad. chant sung by Jane & Paul Makura) Total Time: 77:36 Dragon’s Domain Records presents the premiere release of original music composed by Harry Lubin for the second season of THE OUTER LIMITS. Originally broadcast on the American television network ABC from 1963 to 1965, THE OUTER LIMITS was one of many series influenced by THE TWILIGHT ZONE and SCIENCE FICTION THEATRE, though it ultimately proved influential in its own right. 49 Episodes were produced. When the familiar dulcet tones of the ‘Control Voice’ welcomed viewers back to THE OUTER LIMITS on for the second season premiere, few, if any, were aware of the behind-the-scenes turmoil that had caused the departure of several key staff members. But something was different. In particular, there was a new signature tune that was lonely, sad, and claustrophobic. Despite its current reputation as a cult classic, the original ABC run of THE OUTER LIMITS was not the ratings blockbuster the network had been hoping for. Creator Leslie Stevens and fellow writer Joseph Stefano continually struggled to bring their personal visions of “extraordinary people in extraordinary circumstances” to life each week, despite being gifted with an ensemble of first-class actors, directors, and stunning noir photography. Network executives constantly interfered, trying to make the show more formulaic and easily marketable. The perpetual battles between Stevens and ABC over what the network classified as “questionable content,” along with frequent budget overruns, eventually led ABC to demand that several conditions be met in order for them to commission a second season. These conditions included a time slot change and cutting the budget. Season 1 combined science fiction and horror, while Season 2 was more focused on 'hard science fiction' stories, dropping the recurring ‘scary monster’ motif of Season 1. Each episode in Season 1 was to have a monster or creature as a critical part of the story line in a villain of the week format. Season 1 writer and producer Joseph Stefano believed this element was necessary to provide fear, suspense, or at least a center for plot development. This kind of story element became known as ‘the bear.’ This device was, however, mostly dropped in Season 2 after Stefano left. Also gone were Leslie Stevens and composer Dominic Frontiere. ABC then installed one of their own executives, Ben Brady, as the new producer. No stranger to television production, Brady had come to the network after a successful run on the first two seasons of PERRY MASON. Brady’s limited resources for the second season required him to rely on the talents of another former co-worker to provide an impactful, but cost-effective musical score. Harry Lubin was an accomplished composer, arranger and conductor who began his career as a piano accompanist for Feodor Chaliapin, Sr. At only 20 years old, Lubin became musical director of the Irving Palace Theater in New York City before spitting his time between Broadway shows and locally-produced radio drama. Eventually, he transitioned into television as musical director for THE LORETTA YOUNG SHOW, a long-running anthology series that allowed him to experiment with early electronic instruments like the theremin. He further expanded his palette of unusual instrumentation while scoring the horror/science-fiction anthology ONE STEP BEYOND, which pre-dated THE OUTER LIMITS. Though there were some new recordings done for the second season of THE OUTER LIMITS, much of the second season’s 17 episodes featured thematic material edited from multiple variations within the vast library Lubin had amassed from his earlier series. To create this compilation, Dragon’s Domain Records has carefully selected and grouped together the most memorable musical themes for the episodes in which they were initially used. So turn out the lights, sit back and allow us to control all that you hear from as we take you back to…THE OUTER LIMITS. Dragon’s Domain Records presents THE OUTER LIMITS: SEASON 2, featuring the premiere release of original music from the second season composed by Harry Lubin. The album includes liner notes written by authors David Hirsch and Sam Scali. The music has been mastered by James Nelson at Digital Outland. THE OUTER LIMITS: SEASON 2 is a limited edition release and is expected to begin shipping the week of September 29th, 2025. 01. Main Title (0:55) 02. Suite From SOLDIER (9:20) 03. Suite From COLD HANDS, WARM HEART (9:55) 04. Suite From BEHOLD, ECK! (3:44) 05. Suite From EXPANDING HUMAN (6:19) 06. Suite From DEMON WITH A GLASS HAND (5:32) 07. Suite From CRY OF SILENCE (3:37) 08. Suite From WOLF 359 (6:30) 09. Suite From THE INHERITORS Pt. 1 (4:15) 10. Suite From THE INHERITORS Pt. 2 (7:27) 11. Suite From KEEPER OF THE PURPLE TWILIGHT (6:26) 12. Suite From COUNTERWEIGHT (4:23) 13. Suite From THE PREMONITION (3:10) 14. End Title (0:54) Total Time: 73:20 Dragon’s Domain Records presents music from the original score to TIME AFTER TIME, composed by the legendary Miklós Rózsa (BEN-HUR, KING OF KINGS, EL CID) for the 1979 science fiction thriller directed by Nicholas Meyer (THE DAY AFTER, STAR TREK II: THE WRATH OF KHAN), written by Karl Alexander, Steve Hayes and Meyer, starring Malcolm McDowell, Mary Steenburgen and David Warner. TIME AFTER TIME starts with the premise that H.G. Wells actually constructed the time machine which he wrote about in his classic novel. TIME AFTER TIME is a romantic thriller in which Wells (McDowell), the scientific genius, tracks Jack the Ripper (Warner), the criminal genius, from 19th-century London to 20th-century San Francisco in order to bring the Ripper to justice. When Wells is transported in his time machine to modern San Francisco, he seems to be more of a babe in the woods than a sophisticated Victorian gentleman. What he finds is that some of his predictions have come true, while others, like a utopian society, have not... Born in Budapest, Hungary in 1907, composer Miklós Rózsa studied the violin from the age of 5. While living in London in 1935, Rózsa was hired by legendary producer Alexander Korda to score his film, KNIGHT WITHOUT ARMOR. Later, while composing the music for another Korda production, THE THIEF OF BAGDAD, Rózsa moved to California, where he remained for the rest of his life. Throughout his film career, he worked in many genres but distinguished himself writing music for the film noirs of the 1940’s and the great costume epics of the 1950’s and 1960’s. A classically trained composer, Rózsa was well known for his dedication to researching the musical history of the time periods of the films he worked on. His filmography includes music composed for films such as THE THIEF OF BAGDAD, THE JUNGLE BOOK, DOUBLE INDEMNITY, SPELLBOUND, THE LOST WEEKEND, QUO VADIS, IVANHOE, JULIUS CAESAR, KNIGHTS OF THE ROUND TABLE, BEN-HUR, KING OF KINGS, EL CID, THE PRIVATE LIFE OF SHERLOCK HOLMES, THE GOLDEN VOYAGE OF SINBAD and TIME AFTER TIME, among others. Originally released on vinyl by Entr'acte at the time of the film’s release, this presentation of the score is a rerecording produced by the composer and performed by the Royal Philharmonic Orchestra. Southern Cross would release this program later on compact disc in the early days of the format. In 2009, Film Score Monthly released a compact disc with the original film tracks for the first time. Dragon’s Domain Records presents this new release of TIME AFTER AFTER, featuring the rerecording produced by the composer, newly remastered by James Nelson at Digital Outland and retaining the original album liner notes by director Nicholas Meyer and John Lasher. Following the original album program is a selection of bonus tracks of additional music composed by Miklós Rózsa, including music from PROVIDENCE, THE LOST WEEKEND, SPELLBOUND, THAT HAMILTON WOMAN and THE PRIVATE FILES OF J. EDGAR HOOVER. TIME AFTER TIME is a limited edition release of 500 units. TIME AFTER TIME will begin shipping the week of Sept. 29th, 2025 01. W.B. Fanfare* And Prelude (2:09) (* - Max Steiner) 02. Search For The Ripper/ Decision (2:06) 03. Vaporizing Equalizer / The Time Machine (2:12) 04. Time Travel (1:33) 05. Bank Montage (1:08) 06. Utopia (1:34) 07. The Ripper / Pursuit (3:29) 08. The Time Machine Waltz (4:01) (Eric Parkin: piano) 09. Man Before His Time (1:56) 10. Redwoods (2:32) 11. Frightened (1:45) 12. Murder (1:45) 13. The Fifth Victim (1:35) 14. The Last Victim (1:46) 15. Nocturnal Visitor (1:38) 16. Dangerous Drive (3:08) 17. Journey’s End And Finale (3:59) BONUS TRACKS 18. Time After Time: Pocket Watch (0:28) (The Meridian Studio Ensemble) 19. Providence: Valse Crèpusculaire (3:58) (Gregg Nestor, William Kanengiser: Guitar) 20. The Lost Weekend: Love Theme (5:10) (The National Philharmonic Orchestra) 21. Spellbound: Theme From “Spellbound” (4:46) (Sinfonia of London) 22. That Hamilton Woman: Love Theme (4:46) (The London Symphony Orchestra) 23. The Private Files of J. Edgar Hoover: Main Title / Dr. King / End Titles (9:33) (Conducted by Miklós Rózsa) Total Time: 67:50

Dragon’s Domain Records presents music from the original score to KING KONG, composed by the legendary Max Steiner (GONE WITH THE WIND, CASABLANCA, THE TREASURE OF THE SIERRA MADRE) for the legendary 1933 epic adventure KING KONG, directed by by Merian C. Cooper and Ernest B. Schoedsack, written by James Ashmore Creelman, Ruth Rose and Cooper, starring Fay Wray, Robert Armstrong, Bruce Cabot, Frank Reicher and Sam Hardy. Director Carl Denham (Armstrong) leads a film crew to a remote, uncharted Pacific Island in search of the legendary Kong, a gigantic ape. After the island’s inhabitants abandon actress Ann Darrow (Wray) to Kong, Denham and his crew pursue the beast through the dinosaur-infested jungle. They eventually capture Kong and take him to New York as a sideshow attraction, with disastrous results... Born on May 10th, 1888, Max Steiner was an Austrian composer and conductor who emigrated to America and became one of Hollywood's greatest musical composers. Steiner was a child prodigy who conducted his first operetta when he was twelve and became a full-time professional, proficient at composing, arranging, and conducting, by the time he was fifteen. Threatened with internment in England during World War I, he fled to Broadway; and in 1929 he moved to Hollywood, where he became one of the first composers to write music scores for films. He is often referred to as "the father of film music", as Steiner played a major part in creating the tradition of writing music for films, along with composers Dimitri Tiomkin, Erich Wolfgang Korngold, Franz Waxman, Alfred Newman, Bernard Herrmann, and Miklós Rózsa. Steiner composed over 300 film scores with RKO Pictures and Warner Bros., and was nominated for 24 Academy Awards: His filmography includes THE INFORMER, NOW, VOYAGER, AND SINCE YOU WENT AWAY, LITTLE WOMEN, JEZEBEL, CASABLANCA, THE SEARCHERS, A SUMMER PLACE and GONE WITH THE WIND, which ranked second on the AFI's list of best American film scores, and is the film score for which he is best known. He was also the first recipient of the Golden Globe Award for Best Original Score, which he won for his score for LIFE WITH FATHER. Steiner was a frequent collaborator with some of the best known film directors in history, including Michael Curtiz, John Ford, and William Wyler. Originally released on vinyl in 1976 by Entr’acte and later on compact disc in 1993 by Label X, Dragon’s Domain Records is excited to bring KING KONG roaring back to the marketplace, featuring a rerecording of music composed by the legendary Max Steiner, performed by the National Philharmonic Orchestra, conducted by Fred Steiner. The music has been newly remastered by James Nelson at Digital Outland. The booklet includes the original extensive liner notes written by Fred Steiner and Fay Wray for the album. KING KONG is a limited edition release. KING KONG will begin shipping the week of September 29th, 2025. 01. Main Title / Boat In The Fog (3:39) 02. Forgotten Island / Jungle Dance (4:54) 03. Sea At Night (2:26) 04. Aboriginal Sacrifice Dance (4:00) 05. Entrance Of Kong (4:19) 06. The Bronte / Log Sequence (4:33) 07. Cryptic Shadows (1:50) 08. Kong / The Cave (9:32) 09. Sailor’s Waiting (1:34) 10. Return Of Kong (4:11) 11. King Kong Theatre March (1:31) 12. King Kong Escapes / Aeroplanes / Finale (4:42) 13. RKO Radio Beacon / Original Main Title (1:34) Total Time: 49:20

Wenn es wirklich der Peter-Pan-Geschichte folgt, dann kann man sich ungefähr ausmalen, wie es endet Wobei es natürlich Unterschiede gibt zwischen der tatsächlichen Geschichte von Barrie und dem Disney-Zeichentrickfilm. Die Geschichte ist eher wie die Grimm-Märchen, also mit vielen Dingen, die für jüngere Kinder eigentlich zu düster und verstörend sind. Es gibt dort recht viele Tote, wie beim Kampf der „Lost Boys" gegen die Piraten. Es wird also sicherlich auch in der Serie noch kämpferische Auseinandersetzungen zwischen den Hybriden und den Menschen geben. Wendy wird ja schon als eine Art Anführerin der Rebellion aufgebaut. Das Alien könnte dann in dieser Konstellation die Rolle des Krokodils übernehmen, welches einst Hooks Hand abgebissen hat. Es hat ja außerdem eine Uhr verschluckt, weshalb man es durch das Ticken kommen hört. Das setzt Peter Pan ja auch als eine List ein. Er imitiert das Ticken der Uhr des Krokodils und verschreckt damit die Piraten. Wendy kann mit dem Xenomorph kommunizieren durch zirpende Laute. Vielleicht „verbündet" sie sich also mit dem Xeno gegen die Menschen. Hook möchte Pan töten, wie Morrow den Unternehmer töten will. Beim Endkampf wird Hook dann vom Krokodil gefressen. Mal sehen, ob Morrow also am Ende doch vom Xeno getötet wird, nachdem der erste Xeno ihn unerklärlicherweise immer verschont hat. In Spielbergs Film HOOK entführt Hook ja Pans Kinder und will sie auf seine Seite ziehen. Etwas Ähnliches macht Morrow ja auch mit Slightly. Ist mir nur aufgefallen.